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Sketches  of  Landscapes. 

[Sec  page  11  ] 


gliSSS  (3®IL!LaeS2©SJ 


OF  VALUABLE  AND 


tuMIOUS  ARTS, 


il 

AND  il 


laTTSaSSTING   EXPERIMBNTS, 

Wi'i    f    ARE   WELL  FXPLAINED    AND  WARRANTED 

GEMIINE     A.VO    MAT    BE    PERFORMED    EASILY, 

SAFELY,  AND  AT  LITTLE  EXPENSE. 

— @©©-- 
THIRD    EDITION. 

— e«5©— 

CONCORD  : 
PUBLISHED  BY  RUFUS  PORTER. 


J.    B.    Moore,    Printer. 

1826. 


DISTRICT  OF  NEW-HAMPSHIRE,  to  wit. 
Diftrid  Clerk  s  Office. 

*(T^tTi^'  '  *'  RP-^^EMBERED,  that  on  the  twenty-second  day 
5L.  S.  JJL»  ofOctobi  r.  A.  J>.  1825,  and  in  the  fiftieth  year  of  the  In- 
^'^  dependence  «f  the  United  States  of  America,  1<  UFUS  POR- 
TER, of  the  said  District,  has  ('eposited  in  this  Office  the  title  of  a 
booli,  the  rig-lit  whereof  he  claims  us  proprietor,  in  the  words  follow- 
ing, to  \vit  :— 

"  A  Select  Collection  of  valuable  and  curious  Arts  and  interesting 
"  Experiments,  which  areivell  explained  and  warranted  genuine,  and 
"  may  he  performed  easily,  safely,  ai.d  at  little  expense." 

In  conformity  lo  the  act  of  the  Congress  of  the  United  States,  enti- 
tled, "An  act  for  the  encouragement  of  learning,  by  securing  the  cop- 
ies of  Maps,  Charts  and  liooks,  to  the  Authors  and  Pro;.)ri(;tors  of  such 
copies,  durini;  the  time  theiein  mentiontd  ;"  and  also  to  an  act, 
entitled,  "  An  act  supplementary  to  an  act,  entitled,  an  act  for  the 
encourag:en)eiit  of  learuinf;:,  by  securing  die  copies  of  Maps.  Charts  and 
Books  to  the  '\uthor3  and  •-'lopiietors  of  such  copies,  during  the  times 
therein  mentioned,  and  exttndihg  the  licnelits  thereof  to  the  arts  oi 
nesigning-,  eng^raving  and  etching  l.istorical  and  other  prints." 

SAMUEL  CUSHMAN, 
Clerk  of  the  District  of  New -Hampshire. 
A  true  copy  of  record  :  _  ' 

Attest,    SAMUEL  CUSHMAN,  Ckrk, 


It  is  not  so  much  the  object  of  the 
author,  with  regard  to  the  various  arts 
treated  of  in  the  following  pages,  to 
convey  to  professed  artists,  a  more  ac» 
curate  and  extensive  knowledge  of 
those  arts,  as  to  explain  some  of  the 
first  lines  and  principles  of  them,  for 
the  advantage  of  those,  who  may  be 
induced  to  practice  them  occasionally, 
either  for  profit  or  amusement.  The 
chemical  experiments  are  such  as  are 
calculated  to  combine  recreation,  with 
improvement  in  useful  knowledge — a 
knowledge  of  some  of  the  leading  prin- 
ciples of  chemistr3^ — The  true  chemi- 
cal terms,  according  to  the  nev/  nomen- 
clature (which,  perhaps,  may  not  be  so 
readily  understood,  by  some,  as  the 
more  common  and  familiar  names,  but 
will  be  found  sufficiently  explained  in 
the  appendix)  have,  in  this  work,  been 


IV  ADVERTISEMENT. 


applied  to  the  various  articles  occasion- 
ally mentioned.  Very  few  substances 
have  been  mentioned,  which  are  gener- 
ally considered  poisonous,  or  otherwise 
dangerous  ;  but  it  may  be  proper,  how- 
ever, for  those  who  may  attempt  any 
of  the  chemical  experiments,  to  pro- 
ceed with  caution,  and  carefully  avoid 
the  fumes  produced  by  chemicc^l  action, 
especially  in  metallic  solutions  in  nitric 
acid,  and  sublimation  of  mercury.  Sev- 
eral articles  in  this  little  collection,  will 
probabl}^  be  found  to  contain  some  im- 
provements, and  if  it  prove  as  interest- 
ing to  others,  as  a  similar  work  would 
formerly  have  been  to  the  author,  his 
object  will  have  been  attained. 


TABIiH  OF  COM'TEia'TS. 

1.  Water-proof  gilding  and  silvering,         -        -  -  9 

2.  The  art  of  burnish  gilding,  ....  11 

3.  Ornamental  bronze  gilding,  ...  13 

4.  To  enamel  picture  glasses  with  gold,            -            -  15 
6.    To  wash  iron  or  steel  with  gold,            -            .          -  15 

6.  To  wash  brass  or  copper  with  silver,  -  -  16 

7.  To  give  wood  a  gold,  silver,  or  copper  lustre,  -  17 

8.  To  print  gold  letters  on  morocco,  -  •  18 

9.  To  dye  silk  a  brilliant  gold  colour,  -  -  18 

10.  To  dye  silk  a  brilliant  silver  colour,  -  -  19 

11.  To  silver  looking  glasses,  ...  20 

12.  To  wiite  on  paper  with  gold  or  silver,  -  -  22 

13.  To  make  good  shining  black  ink,  .  -  23 

14.  ,  BUie  ink,  -  -  i  -  -  23 

15.  RaJlnlc, 24 

16.  Yellow  ink, 24 

n.    Green  ink.  .....  25 

18.  Purple  ink,  ....  -  25 

19.  To  write  in  various  colours  with  the  same  pen,  ink 

and  paper.  -  -  -  -       *     j  25 

20-2f>.    Sympathetic  inks  for  secret  correspondence,        -  27 

27.  Luaiinous  ink  that  will  shine  in  the  dark,  -  28 

28.  To  make  a  writing  appear  and  disappear  at  pleasure,  29 

29.  T«  make  a  writing  vanish  an!  another  appear  in  its 

piacc.  •  -  -  .  2y 

30.  To  restore  old  writing  that  is  nearly  defaced,  -  30 


VI  TABLE    OP   CONTENTS. 

31.  To  paint  a  picture  that  will  appear  and  disappear 

occasionally,  -  -  -  -  3ft 

32.  Landscape  painting  on  walls  of  rooms,        -  -SI 

33.  To  paint  iu  figures  tor  carpets  or  bordera,  -  34 

34.  To  paint  in  inaitation  of  mahogany  and  maple,        •        35 

35.  Tiie  art  of  painting  on  glass,  .  .  36 

36.  Best  method  of  polisliing  steel,  -  -  3T 

37.  To  make  letters  of  blue  on  polished  steel,  -  38 
33.  To  ijreserve  tae  brightness  of  polished  steel,  -  39 
39  To  give  steel  a  temper  to  cat  marble,               -  40 

40.  To  wash  iron  or  steel  with  copper,  .  •     41 

41.  To  give  iron  the  whiteness  of  silver,  -  -    42 

42.  To  wash  iron  with  tin,  -  .  -42 

43.  To  give  tin  the  whiteness  and  brilliancy  of  silver,  44 

44.  To  ciystallize  tin,  ...  44 

45  To  make  a  gold  coloured  varnish  for  tin,  .  45 

46  To  make  s.'ellac  varnish  for  japanning,,  .  46 

47  To  make  the  best  copal  varnish.    /         -  .47 

48.  To  make  a  spi. it  varnish  fur  maps,  -  .  48 

49.  Toraake  ejastid^vamish  for  umbiellas,  -        -        49 

50.  To  varnish  maps  and  pictures,  -  -  -      49 

51.  To  make  biuuswick  blacking,  -  -  ,  50 
52  To  make  a  print  appear  on  a  gold  ground,  -  51 
63  Best  method  of  tracing  or  copying  a  picture,  •  52 
54  The  construction  and  use  of  a  copying  machine,  .^3 
56.  To  pioi'uce  the  ►'xact  likeness  of  any  object  instantly,    54 

56.  Copper  pate  engraving,  •  •  -         57 

57.  Etching  on  copper  plates,  •  .  ,      60 

58.  Engraving  and  scraping  in  mezzotinto,  •  -63 
$9.  Etciiing  inaqua-tinta,           -            •            •            «        64 

60.  Copper  plate  printing,  -  -  -        -      65 

61.  Etching  letters  and  flowers  on  glass,  "  -  67 
62  To  print  figures  with  a  smooth  stone,  -  .64 
63.  To  cut  glass  witi)  a  piece  of  iron,  •  .  -  69 
€4.  Best  cement  for  joining  glass,           -           -  -      70 


TABLE    OF  CONTENTS.  VU 

65.  Best  cement  for  joining  china  or  crockery,  -  70 

66.  To  make  a  ■^trong  water  proof  glue,             -  •         71 

67.  The  art  of  moulding  figures  in  relief,        -    -  -       72 

68.  To  cast  images  in  plaster,                -                -  -      73 

69.  To  produce  embossed  letters  on  marble,  •  74 

70.  To  soften  stone.            -                -                -  -  75 

71.  To  change  wood,  aiparentlv,  to  stone,  -  76 
72  To  render  wood,  cloth  or  paper,  nre  proof  -  77 
73-75.     To  produce  fire  readily,                 -  77 

76.  To  make  suptr-combustible  matches,  -  -         78 

77.  To  make  %un  powder,                -                -  -        79 

78.  To  make  the  common  fulminating  powder,  -         80 

79.  To  make  mercurial  fulminating  powder,  -  80 

80.  To  kindle  a  fire  under  water,             -  -  82 

81.  To  light  a  candle  by  application  of  ice,  -        -       82 

82.  To  form  letters  or  flowers  of  real  flame,  -  -       83 

83.  To  produce  flame  of  various  colours,  -  -       84 

84.  To  make  sky  rockets  and  fire  wheels,  .  .       85 

85.  To  produce  detonating  *alloons,            .  .  '82 

86.  To  prepare  a  phial  that  will  give  light  in  the  dark,  89 

87.  To  make  a  person's  face  appear  luminous  in  the  dark,     89 

88.  To  freeze  water  in  warm  weather,  -  -  -  90 
89"  To  change  the  colours  of  animals,            .  .        .     91 

90.  To  give  leather  a  beautiful  metalliclustre,  .  92 

91.  An  easy  method  of  extracting  the  essence  of  roses,        92 

92.  To  prepare  various  kinds  of  essences,  .  .       93 

93.  To  prepare  soda  water,  .  .  ,  .94 
94-95.    To  produce  metallic  trees,            .            .            .95 

96.  To  tin  copper  by  boiling,            ...  96 

97.  A  metal  that  will  melt  in  hot  water,            .  ,96 

98.  Illustration  of  calico  pi inting,             .            .  .        9G 
■  ,9^.  To  prepare  an  imitation  of  gold  bronze,            .  .      99 

too.     To  procure  the  exhilarating  gas,  .  .  99 

lUl.    Construction  of  the  galvanic  pile  or  battery,  .       101 

102.    Construciioa  of  the  oxy-hydiogea  blow-pipe,        .     102 


Vin  -       TABLE    OF  CONTENTS. 

103.  To  make  a  dry  phosphorescent  powder,  .  104 

104.  Curious  experiment  of  pvecipitaiion,             .  .     105 

105.  To  make  a  beautiful  soft  glass  for  jevvehy,  .  105 
ln6.  Composition  of  various  kinds  of  glass,  .  .  106 
107.  Cnmpositioo  of  various  alloys,  .  .  107 
103.  To  produce  various  kinds  of  gas,            .  .          108 

109.  Various  chemical  tests,        .            ...  110 

110.  To  produce  a  picture  instantly',             .  .  Ill 

111.  A  cheap  imitation  of  silver  bronze,            .  .       112 

112.  To  make  crayons  of  various  colours,        .  .  113 

113.  To  make  hard  sealing  wax.            .             .  .         115 

114.  The  art  of  manufacturing  paper  hangings,  .         116 

115.  To  make  elastic  blacking  for  leather,  .  118 

116.  Sundry  experiments,               .            .  •        .      119 


CCTHIOUS  ARTS. 

— QfQO— 

1.  Water-proof  gilding  and  silvering.^-— 
This  kind  of  gilding,  usually  termed  oil  gild- 
ing, being  the  cheapest  and  most  durable,  is  in 
general  use  for  gilding  or  silvering  letters  on 
signs,  labels,  &:c.  and  may  be  performed  as 
follows  : — Giind  one  ounce  of  white  lead^and 
two  ounces  of  litharge,  very  fine,  in  a  gill  of 
old  linseed  oil,  and  if  convenient,  add  nearly 
one-fourth  of  a  gill  of  old  copal  varnish,  and 
half  an  ounce  of  stone  yellow;  but  neither  of 
these  last,  are  very  essential  ingredients.  Ex^ 
pose  this  composition  to  the  rays  of  the  sun  for 
a  week  or  more  in  a  broad  open  vessel,  obser- 
ving, however,  to  keep  it  free  from  dust.  Then 
pour  off"  the  finest  part,  and  dilute  it  with  as 
much  spirits  of  turpentine  as  will  make  it  work 
freely  with  a  brush  or  camel-hair  pencil.  (Oil. 
that  will  answer  exceedingly  well  for  this  pur-«, 
pose,  may  sometimes  be  collected  from  the  top 
of  oil  paints  that  have  been  longstanding,  ancf 


10  CURIOUS    ARTS. 

maybe  used  directly,  without  being  exposed 
to  the  sun  as  directed  above.)  Wliatever  let- 
ters or  figures  you  would  gild,  must  be  first 
drawn  or  painted  with  this  sizing,  the  ground 
having  been  previously  painted  and  varnish- 
ed ;  and  when  the  sizing  is  so  dry  as  to  be 
hard,  but  yet  remains  slightly  adhesive,  or 
sticky,  lay  on  gold  or  silver  leaves  smoothly 
over  the  whole,  pressing  them  down  gently 
with  a  soft  ball  of  cotton.  The  most  conve- 
nient manner  of  performing  this,  is  to  lay  the 
leaves  of  gold  or  silver,  first  on  a  piece  of  deer- 
skin or  glove-leather,  and  cut  them  into  pieces 
of  a  convenient  size,  by  drawing  a  smooth 
(not  sharp)  edged  knife  over  them.  Then  take 
a  small  block  of  wood,  of  a  triangular  ibrm, 
about  half  an  inch  thick,  and  two  inches  in 
diameter,  and  bind  a  strip  of  fine  flannel  round 
the  edges; — breathe  on  this,  and  press  it  gent- 
ly on  a  piece  of  the  leaf,  which  by  this  may 
be  taken  from  the  leather,  and  carried  to  any 
part  of  the  sizing  where  it  will  best  fit,  and  to 
which  it  will  readily  adhere:  thus  the  sizing 
may  be  readily  covered  with  the  leaf,  very 
little  of  which  will  be  wasted.  Afterwar  i  the 
whole  may  be  brushed  over  lightlv  with  cotton, 
or  a  soft  brush,  and  the  superfluous  gold  or 


CURIOUS  ARTS.  li 

silver  will  be  brushed  off,  leaving  the  letters  or 
figures  entire.  When  the  work  has  thus  re- 
mained two  or  three  days,  it  may  be  rubbed 
with  a  piece  of  silk,  which  will  increase  its 
metallic  lustre.  J^''ote. — It  is  very  essential 
that  the  varnish  of  the  grounci  should  be  thor- 
oughly dry,  that  it  may  not  be  adhesive  in  the 
least  degree,  otherwise  the  leaf  will  stick 
where  it  should  not,  and  materially  injure  the 
work.  When  plain  gilding  is  required  for 
vanes,  balls,  &c.  the  leaves  of  gold  or  silver 
may  be  applied  to  the  work  directly  from  the 
book,  without  cutting  or  dividing  them. 

2.  The  art  of  burnish  gilding. — Make  a 
sizing  by  boiling  the  skins  of  beaver  and  musk 
rats,  (which  may  be  readily  procured  at  a  hat 
manufactory,)  in  water,  till  it  is  of  sufficient 
strength  that  by  cooli.ig  it  will  become  a  stitV 
jelly ;  strain  the  liquor  while  warm,  and  give 
your  work  one  coat  of  it  with  a  brush ;  when 
thts  is  dry,  add  a  little  fine  whiting  to  the  siz- 
ing, and  give  the  work  one  coat  of  this.  Then 
add  as  much  whiting  as  will  work  freely  under 
the  brush,  and  lay  on  five  or  six  coats  of  this, 
allowing  each  a  sufficient  time  to  dry.  Smooth 
the  work  by  wetting  it,  and  rubbing  it  with  a 


12  CURIOUS    AKTS, 

piece  of  pumice  stone,  which  should  be  piTvi- 
ously  cut    nd  fitted  to  the   moulding  or  other 
work  that  is  to  be  gilt ;  afterward,  when  the 
work  is  dry,  ruh  it  with  some  fine  sand  paper. 
Then  take  some  burnish-gold-size  (which   is 
composed  of  pipe-clay,  plumbago,  beef  tallow 
and  castile  soap,  but  may  be  easily  procured 
i»eady  made,)  and  dilute  it  with  water  till  it  is 
of  the  consistence  of  very  soft  putty,  and   af- 
terward with  the   abovementioned  sizing  till  it 
will  flow   freely   from  a  brush,   and   give  the 
work  th  ee  successive  coats  of  this;  when  the 
last  is  dry,  dip  a  camel-hair  pencil  in  a  mix- 
ture of  equal  quantities  of  rum  and  water,  and 
with  it  wet  a  small  partot  the  \voik,and  iinme- 
diuely,  while  it  is  flouirig,  lay  on  a  leaf  of 
gold,  brushing  it  down  with   a  very  solt,  flat 
carael-hjir  biu-h,  with  which  also,  the  leaf  is 
usually  conveyed  from  the  book  to  the  sizing; 
proceed   thus  till  the  whole   is  gilt,  and  let  it 
dry.       When   the  work  is  sufficiently   dry  to 
take  a  fair  polish   by  burnishing,   (which  can 
"be  only  ascertained  by  applyir.g  the   burnish- 
ei  to  driferent  parts  of  the  woi'k  occasionally 
while  it  is  drying,)  rub  over  the  whole  careful- 
ly with   a  flint   burnisher,  or  with  the  looih  of 
a  wolf  or  dog,  being  fixed  in  a  convenient  han- 


CURIOUS    ARTS.  13 

die,  till  the  whole  acquires  a  brilli?int  polish, 
except  such  parts  as  are  requiiecl  to  remain  in 
a  rough-gilt  state,  which  parts  are  usuall^y  flat- 
ted by  a  coat  of  thin  sizing.  Such  are  the 
principal  rules  of  the  art  of  burnish  eiidino-- 
but  as  this  business  requires  some  variation  of 
management,  according  to  the  state  of  the 
wither  and  other  circumstances,  it  may  not 
be  expected  that  any  person  should  become 
very  expert  in  the  art,  without  the  advantage 
of  some  experience  and  practice. 

3.  Ornamental  bronze  oiLDiNe. — This  is 
performed  hy  means  of  gold  oi-  silver,  reduced 
to  an  impalpable  powder,  called  bronze.  One 
method  of  preparing  it,  is  to  levigate  any  quan- 
tity of  gold  or  silver  leaves  on  a  stone,  with 
some  clarified  honey:  dilute  the  honey  with 
clear  water,  that  the  bronze  may  setde;  pour 
off  the  water  and  honey,  and  add  fresh  water 
to  the  bronze,  which,  after  being  thus  thor- 
oughly washed,  may  be  dried  on  paper,  and  is 
ready  for  use.  Another  method  of  preparing 
the  gold  bronze,  is  to  precipitate  the  gold  from 
its  solution  in  nitro-murirtic  acid,  (see  5,)  by 
adding  sulphate  of  iron  to  the  solution ;— then 

washing  it,  as  directed  above.     But  in  general 
b2  '^ 


14  CURIOUS    ARTS. 

it  wil:  l-»e  found  much  cheaper  to  huy  the  bronze 
rtadj  prepared.     The  ground  for  this   work 
must  be  varnished  with  a  mixture  of  copal  var- 
nish, with  mi  equal  quantity  of  old'  linseed  oil ; 
and  whatever  figures  are  to  be  foinied  injpron- 
zins;,  must  be  represented  by  holes  cut  through 
pieces  of  paper.      Lay   these  patterns  on  the 
work,  when  the  varnish  is  so  dry  as  to  he  I  ut 
slightly  adhesive,  but  not  press  them  down  any 
more  than  is  requisite  to  keep  the  paper  in  its 
*  place.     Then  take  a  piece  of  soft  glove-leather, 
moisten  it  a  little  by  breathing  ou  it,  and  dip  it 
in  some  dry  bronze,  and  ajjply  it  to  the  figures, 
beginning  at  the  edges  ;— tap  the  figure  gently 
with  the   leather,  and  the  bronze  will   stick  to 
the  varnish  according  to  the   pot'prn.     Thus 
any  figure  may  be    produced   in  a  va..ei;;    of 
shades,  by  applying  the  bronze  more  freely  to 
some  parts  of  the  work  than  to  others.      If 
some  inteinal  pans  of  the  figures  require  to  i-e 
more  distinct  than  others,  they  m:iy  be  wrought 
by  their  peculiar  patterns,  or  may    be  edged 
with  dark  coloured  paint.      In  some  work  it 
may  be  well  to  extend  the  varnish  no  farther 
than  the  intended  figures,  in  which  case,  any 
projecting  or  branching  parts  of  tiie  figures, 
may  be  drawn  with  a  camel-hair  pencil,  and 


-*s 


CURIOUS   ART4.  15 

ihe  patterns  may  in  some  measure  be  dispensed 
"vvith.  In  either  case,  the  work  must  after- 
warcb  have  one  or  more  coats  of  copal  or  shel- 
lac varnish. 

4.       To    ENAMEL    PICTURE    GLASSES    WITH    GOLD. 

— The  glass  must  lirst  be  washed  perfectly 
clean  and  dried ;  then  damp  it  by  breathing  on 
it,  or  wet  it  with  the  tongue,  and  immediate!}' 
lay  on  a  leaf  of  gold,  and  brush  it  down  smooth. 
When  this  is  dry,  draw  any  letters  or  flowers 
on  the  gold  with  Brunswick  blacking,  (see  51) 
and  when  dry,  the  superfluous  gold  may  be 
brushed  off  with  cotton,  leaving  the  figures  en- 
tire. Afterward  the  whole  may  be  covered 
with  blacking,  or  painted  in  any  colour,  while 
the  gold  figures  will  appe  ir  to  advantage  on 
the  opposite  side  of  the  glass.  This  work  may 
be  elegantly  shaded  by  scratching  through  the 
gold  with  a  small  steel  instrument,  (in  the  end 
of  which  many  sharp  points  are  formed,)  pre- 
vious to  laying  OD  the  blacking.  Oil  paints  of 
any  kind  may  be  substituted  in  the  place  of  the 
blacking,  but  will  not  dry  so  quick. 

5.        To   WASH    IRON    OR    STEEL    WITH    GOLD. ^ 

Mix  together  in  a  phial,  one  part  of  nitric  acid, 


16  CURIOUS    ARTS. 

with  two  parts  of  muriatic  acid,  and  add  as 
much  fine  gold  as  the  acid  will  dissolve.  For 
this  purpose  gold  ieaf  is  the  most  convenient, 
as  it  will  be  the  most  readily  dissolved.  (This 
solution  is  called  the  nitro-muriate  of  gold.) 
Pour  over  this  solution,  cautiously,  about  half 
as  much  sulphuric  ether; — shake  the  mixture, 
and  then  allow  it  to  settle.  The  ether  will  take 
the  gold  from  the  acid,  and  will  separate  itself 
from  it  also,  and  form  an  upper  stratum  in  the 
phial.  Carefully  pour  off  this  auriferous  ether 
into  another  phial,  and  cork  it  close.  Wash 
any  piece  of  steel  or  iron  with  this  ether,  and 
immediately  plunge  it  m  cold  water,  and  it  will 
have  acquired  a  coat  of  pure  gold.  With  this 
also,  any  flowers  or  letters  may  be  drawn  or 
written,  even  with  a  pen,  and  will  appear  per- 
fectly gilt.  The  steel  or  iron  should  afterward 
be  heated  as  much  as  it  will  bear  without 
changing  colour,  and  if  the  steel  be  previously 
polished,  the  beauty  of  the  gilding  may  be 
much  increased  by  burnishing  with  a  cornelian 
or  blood  stone. 

6.       To    WASH  BRASS    OR    COPrER    WITH    SILVER. 

—To  half  an  ounce  of  nitric  acid  in  a  phial, 
add  one  ounce  of  water,  and  one  fourth  of  an 


CURIOUS    ARTS.  17 

iunce  of  good  silver.  It  will  soonbedissohcd, 
and  if  the  acid  and  metal  are  both  pure,  the  so- 
lution, (which  is  called  nitrate  of  silver)  will  be 
transparent  and  colourless.  Add  to  this  a  so- 
lution of  nearly  two  drachms  of  muriate  of  .so- 
da, in  any  quantity  of  water;  this  will  precip- 
itate the  silver  in  a  white  opaque  mass.  Pour 
off  the  water  with  the  acid,  and  add  to  the  sil- 
ver an  equal  quantity  of  super-tartrate  of  pot- 
ass, thus  forming  a  soft  paste  ; — dip  a  piece  of 
soft  leather  in  this  paste,  and  rub  it  on  the  metal 
to  be  silvered  ;  continue  rubbing  it  till  it  is  near- 
ly dr}'^ ;  then  wash  it  with  water,  and  polish  by 
rubbing  it  hard  with  a  piece  of  dry  leather. 
Another  method  is,  to  add  sub-carbonate  of 
potass  to  the  nitrate  of  silver,  as  long  as  ebuli- 
tion  ensues  ;  then  the  acid  is  poured  off,  and  the 
'precipitate,  (which  is  white  at  first,  but  be- 
comes green  when  dry,)  is  mixed  with  double 
its  quantity  of  muriate  of  soda,  and  super-tar- 
trate of  potass.  With  this  composition,  being 
moistened,  the  metal  is  rubbed  over,  &c. 

7.    To    GJVE    WOOD  A  GOLD,    SILVER,    OR  COFPEK 

LUSTUE. — Grind  about  two  ounces  of  white 
beach  sand  in  a  gill  of  water,  in  which  half 
an  ounce  of  gum-arabic  has  been  dissolved, 
and  brush  over  the  work  with  it.     When  this 


18  OURIOUS    ARTS. 

ii3  dry,  the  work  may  br  rubbed  over  with  a 
piece  ol'  gold,  silver  or  copper,  and  will  in  a 

measure,  assume  their  respective  colours  and 

brilliancy.     This  woi-k  may  be  polished  by  a 

flint  burnisher,  but  should  not  be  varnished. 

8.  To  PRINT  GOLD  LETTERS  ON  MOROCCO. FirSt 

wet  the  morocco  with  the  whites  of  eggs  j 
when  this  is  dry,  rub  the  work  over  with  a 
little  olive  oil,  and  lay  on  gold  leaves.  Then 
take  some  common  printing  types,  and  heat 
them  to  the  temperature  of  boiling  water,  and 
impress  the  letters  on  the  gold  ; — rub  the  whole 
with  a  !  icce  of  flann^^l,  and  the  superfluous 
gold  will  come  off",  leaving  the  letters  hand- 
somely gilt.  Another  method  is,  to  strew 
powdered  rosin  over  the  morocco  previous  to 
laying  on  the  leaf;  the  heat  ol  the  types  melts 
the  rosin,  which  occasions  the  gold  to  adhere 
in  the  impressions,  while  the  other  may  be 
brushed  off". 

9.  To  DYE  SILK  A  BRILLIANT  GOLD  COLOUR. 

Take  any  quanlity  of  niiro-muriate  of  gold, 
(see  5)  and  evaporate  bj''  exposing  it  to  a  gen- 
tle heat  in  a  glass  tum(>ler  or  phial  ;  the  gold 
will  form  itseif  in  crystals  on  the  bottom  and 


CURIOUS    ARTS.  19 

sides  of"  the  vessel  ;  collect  these  crystals  and 
dissolve  them  in  ten  times  their  weight  of  pure 
water.  Then  pui  a  gill  of  water  into  a  common 
flask,  and  ndd  one  ounce  of  granulated  ztnc,  and 
one-fourth  of  an  ounce  of  sulphuric  acid.  Hy- 
drogen gas  will  be  evolved,  and  rise  through  the 
neck  of  the  flask,  which  must  not  be  stopped. 
Immerse  a  piece  of  white  siik  in  the  above 
menlioned  aqueous  solution  of  gold,  and  ex- 
pose it,  while  wet,  to  th*^  current  of  gas  as  it 
rises  from  the  flask  ;  the  gold  will  soon  be  re- 
vived, and  the  silk  will  become  beautifully 
and  permanently  gilt.  Any  letters  or  flowers 
may  be  drawn  on  the  silk  with  a  camel-iiair 
pe.'icil  dipped  in  the  solution,  and  on  being 
exposed  to  the  action  of  the  gas,  will  be  reviv- 
ed .and  shine  with  metallic  brilliancy.  J^ote, — 
The  silk  must  be  kept  moi-t  with  water. till  the 
gold  is  revived.  Zinc  niuy  be  prepared  for 
the  above  purpose,  by  melting  it,  and  stirring 
it  continually  v/ith  a  slick  or  iron  rod  while  it 
is  cooljng  ;  or  it  may  be  pulverized  with  a 
hammer  as  soon  as  it  becomes  solid. 

10.      To  DYE  SILK  A   BRILLIANT  SILVER  CorOUB. 

— Proceed  is  directed  in  the  last  experi'nent, 
only  use   the  nitrate  of  silver,  (see  6)  irioiead 


20  CLFRtOUS    ARTS. 

of  nitro-miirinte  of  gold  The  process  of 
cryslalizing,  re-dissolvir  g,  &c.  is  the  same. 
But  the  crysluls  of  silver  difler  in  colour,  be- 
ing while,  wliereas  those  produced  from  gold 
arc  j?elio\v.  If  a  jar,  or  box  be  filled  with 
hj^drogf-n  gas,  and  the  silk  rsusprnded  in  it,  the 
action  oftiie  gas,  and  consequently  (he  rcvivifi- 
criiion  of  the  metals  will  be  more  uniform. 
Foi'  small  figures,  however,  it  may  be  as  well 
to  fix  a  sto})f)er  in  the  il  isk,  having  a  small 
oriiice  through  it,  that  the  gas  may  be  thrown 
with  some  force  on  the  silk,  and  will  have  a 
more  certain  ^iTocf.  A  solution  of  muriate  of 
tin  may  be  managed  in  a  similar  mariner,  but 
none  of  these  solutions  can  be  thus  revived  on 
paper. 

11.  To  siLVFR  LOOKi NTo  GLASSES. — Lay  On  a 
smooth  board,  a  piece  of  solt  deer-skin  leather* 
rather  larger  than  the  glass  that  is  to  be  silver- 
ed ;  and  on  the  leather,  having  sprinkled  a 
little  fine  whiting,  spread  a  piece  of  tin  foil  of 
the  same  size.  Pour  on  a  k^w  drops  of  mer- 
cury, and  brush  it  over  the  tin  with  a  smooth 
brush,  till  every  part  of  the  tin  becomes  bright. 
Then  add  as  much  mercury  as  will  lay  on  the 
♦in,  and  upon  this  lay  the  glass  to  be  silvered  : 


r 


(iURious  ARTS.  ;21 

on  the  glass  lay  another  piece  of  leathfir,  of 
the  same  size,  and  on  ih'it  another  board. — 
Take  up  the  boards  with  the  glass,  and  press- 
ing the  boards  together,  turn  them  with  the 
glass,  the  other  side  up  ;  take  oti  the  upper 
board,  and  pass  the  glass  with  the  tin  and 
leather,  between  two  rollers,  similar  to  those 
of  a  rolling  press,  for  copper-pbte  printi/jg  ; 
thus  to  pressoul  the  mercury  from  between  the 
tin  and  the  ghss.  Then  phice  the  glass  be- 
tween the  boards  again  as  before,  and  ph\ce  a 
heavy  weight  (which  cannot  be  too  heavy,  un- 
less it  breaks  the  glass)  on  the  upper  br,;iid, 
which  must  remain  two  or  three  d;iys.  The 
glass  may  then  be  taken  up.  The  practice  of 
some  is,  to  lay  thin  paper  on  the  mercury  pre- 
vious to  laying  on  the  glass  ;  this  proper,  being 
carefully  drawn  out,  after  the  glass  is  laid  on, 
serves  to  remove  the  superfluous  mercury,  that 
the  tin  may  come  more  nearly  in  contact  with 
the  glass.  .In  this  cai-e,  no  rollers  arc  used. 
Concave  or  other  fancy  glasses  maj'  be  silver- 
ed, by  making  an  impression  with  the  glass, 
in  a  kind  of  puMy,  made  of  line  sulphate  of 
lime  and  water  ;  and  placing  the  glass  in  the 
impression  again  Aviih  the  tin  foil  and  mercury, 

'v!«.rn  ♦iio  plastrr  is  dry,  and  subjecting  it  la 
c 


22  CURIOUS    ARTS. 

pressure  iwo  or  three  days  in  that  situation. 
The  experiment  of  silvering  glass  may  be  per- 
formed by  rubbing  a  drop  of  mercury  on  a 
small  piece  of  tin  foil, 'and  pressing  it  upon  a 
piece  of  glass  with  the  finger,  or  a  piece  of  soft 
leather.  In  this  case,  the  glass  will  have  ac- 
€|uired  the  reflective  property  of  a  mirror  ;  and 
if  a  similar  pressure  be  continued  a  few  hours, 
the  tin  will  adhere  permanently. 

12.  To  WRITE  ON  PAPER  WITH  GOLD  OR  SIL- 
VER.-—Make  a  sizing  as  strong  as  will  flow  free- 
ly from  the  pen,  by  dissolving  equal  quantities 
of  gum  arabic  and  loaf  sugar  in  water ;  write 
with  this  on  paper  and  let  it  dry  ;  then  moisten 
the  paper  by  breathing  on  it,  or  by  holding  it 
over  hot  water,  and  immediately  lay  pieces  of 
gold  or  silver  leaf  on  the  lines  of  the  writing, 
pressing  them  <]own  gently  with  a  dry  hair 
peccil.  Otherwise,  brush  gold  or  silver  bronze 
lightly  over  the  writing  ;  but  this  will  not  have 
so  brilliant  an  appearance.  Allow  the  sizing 
to  dry  again,  and  then  brush  pff  the  redundant 
gold  or  silver  with  cotton.  This  writing,  (if 
performed  with  leaf  gold  or  silver)  may  be 
burnished  with  a  flint  burni^^her  or  a  cornelian 
or  blood-stone.     Gold  letters  may  also  be  writ- 


CURIOUS    ARTS.  23 

ten  or  drav/n  with  a  hair  pencil  by  means  of 
gold  bronze,  mixed  wiih  weak  gum  water,  to 
which  may  be  added  a  little  solulion  of  soap, 
which  will  make  it  run  moie  freely.  But  no 
preparation  of  solution  of  gold  has  yet  been 
discovered,  which  may  be  easily  revived  on 
paper. 

13,  To    MAKE   GOOD    SHINING    BLACK    INK. 

Tak^  two  ounces  of  nut-galls  in  coarse  pow- 
der ;  one  ounce  of  logwood  in  thin  chips  ;  one 
ounce  of  sulphate  of  iron  ;  three-fourths  of  an 
ounce  of  gum-arabic  ;  one-fourth  of  an  ounce 
of  sulplwte  of  copper  ;  and  one-fourth  of  an 
ounce  of  loaf  sugar.  Boil  the  galls  and  log- 
wood together  in  three  pints  of  water,  till  the 
quantity  is  reduced  to  one  half.  Then  the 
liquor  must  be  strained  through  a  flannel  into 
a  proper  vessel,  and  the  remainder  of  the  in- 
gredients be  added  to  it.  The  mixture  is  then 
to  be  frequently  stirred  till  tiie  whole  is  dis- 
solved ;  after  which  it  must  be  left  at  rest  for 
twenty-foi]r  liours.  The  ink  may  then  be  de- 
canted from  the, gross  sediment,  and  must  be 
preserved  in  a  glass  bottle  well  corked. 

14,  Blue  ink. — Dissolve  one  ounce  of  gum- 
arabic  in  a  pint  of  water.     In  a  pari  of  this 


24  CURIOUS    ARTS. 

gntn-wateif,  grind  a  small  quantity  oi'  bcslprus- 
sian  blue  ;  you  may  thus  bring  it  to  any  depth 
of  colour  Y^u  choose.  Indigo  will  answer  this 
purpose  very  well,  but  is  not  so  fine  a  colour, 
por  vvill  it  remain  suspended  so  uniformly  in 
the  water. 

1  b.  Rkd  ink. — llfi  the  above  mentioned  gum- 
water.  u;rin(i  v*  ry  fine,  three  parls  of  vertiiillion 
wi'  h  on<'  oC  lake  or  carmine.  Thi?;  is  a  very 
perfect  colour,  but  may  recjuire  to  be  shaken 
up  occasionally.  To  mak^  the  common  red 
ink,  such  »s  is  used  by  book  I'indcrs  for  rul- 
ing, &c.  irfu>e  half  a  pound  of  rasped  brazil- 
wood, for  tivo  or  three  days  in  a  [)int  of  vine- 
ff  ir  ;  then  filter  cr  strain  ii,  and  add  one  ounce 
of  gum-arabic,  and  one  ounce  of  alum.  It  may 
afterward  be  di'utcd  occasionally  \vithn\'ater, 

16.  Yellow  ink. — Steep  one  ounce  of  tur- 
meric, in  powder, p,*ii;df  a  gill  of  alcohol;  let 
it  rest  twenty-four  loirs,  and  then  add  an  equal 
quantity  of  water ;--throvv  the  whole  on  a 
cloth,  and  qxpress  the  coloured  liquor,  which 
mix  with  gum  water.  Rum  or  othei  spirits 
may  be  substituted  in  the  place  of  alcohol.  A 
•solution  of  gamboge  in  water,  writes  a  full  yel- 


CURIOUS    ARTS.  25 

iovv,  but  comes  far  short  of  turmeric  in  bright- 
ness. 

17.  Green  ink. — To  the  tincture  of  turme- 
ric, prepared  as  above,  add  a  little  prussian 
blue.  A  variety  of  tints  may  be  formed,  by 
varying  the  proportions  of  these  two  ingredi- 
ents, and  no  artificial  colour  can  excel  it  in 
beauty. 

18.  Purple  ink. — To  the  blue  ink,  descri- 
bed at  14,  add  some  finely  ground  lake ;  or  in- 
stead of  this,  the  expressed  juice  of  the  deep- 
est coloured  beets  may  be  substituted,  but  is 
.more  liable  to  fade.  With  either  of  these  a 
variety  of  tints  may  be  formed,  by  varying  the 
proportions. 

1  9,       To  WRITE  IN  VARIOUS  COLOURS    WITH  THE 

SAME  PEN,  INK  AND  paper.^ — Take  a  sheet  of  white 
paper,  and  wet  some  parts  of  it  with  a  solution 
of  sub-carbonate  of  potass,  which  must  be  di- 
luted with  water  so  as  not  to  appear  on  the  pa- 
per when  dry.  Wet  some  other  parts  with  di- 
luted muriatic  acid,  or  with  juice  of  lemons. — 
Some  other  parts  may  be  wet  with  a  dilute  so- 
lution of  alum ;  and  others  with  an  infusion  of 
c  2 


^^., 


26  CURIOUS    ARTS. 

nut-galls  (water  in  which  bruised  or  pulverized 
nut-gal!?  have  been  steeped.)     None  of  these 
preparations  must  be  so  strong  as  to  colour  the 
paper  any.     When  these  are  drj,  take  some 
finely  powdered  sulphate  of  iron,  and  rub  it 
lic^htly  on  some  parts  of  the  paper,  that,  have 
been  wet  with  the  sub-carbonate  of  potass,  and 
infusion  of  galls.     Then  with  the  juice  of  vi- 
olets, or  of  the  leaves  of  red  cabbage,  write  on' 
the  paper  as  usual  with  a  pen.     The  ink  is,  of 
itself,  a  faint  purple  ;  where  the  paper  \\  as  wet 
with  acid,  the  writing  will  be  bright  red  ;  on 
the  sub-carbonate  of  potass,  it  will  take  a  beau- 
tiful green  ;  on  the  alum  it  will  be  brown  ;  on 
the  sub-carbonate  of  potass  that   was  rubbed 
with  powdered  sulphate  of  ii'on,  it  will  be  deep 
yellow  5  and  on  the  infusion  of  galls   that  was 
rubbed  with  the  powder,  it   will  be  black. — 
The  juice  of  violets  will  sometimes  take  a  bril- 
liant yellow  on  the  alkali  if  it  be  very  strong. 
The  juice  of  violets  or   red  cabbage  maybe 
kept  a  long  time  by  means  of  the  addition  of  a 
few  drops  of  alcohol ;  or  the   leaves  may   be 
dryed  by  the  fire,  and  thus  may  be  kept  ready 
for  use;  and  it  is  only  requisite  to  steep  them 
in  hot  water,  in  order  to  prepare  the  ink  at  any 
time.    cATofe,— The  yellow  ink,  described   at 


CURIOUS    ARTS,  27 

16,  writes  a  full  red  where  the  paper  has  been 
wet  with  the  solution  of  sub-carbonate  of  pot- 
ass; while  the  solution  of  sulphate  of  iron, 
which  has  no  colour  of  itself,  writes  a  deep 
yellow  on  the  alkali,  and  black  on  the  infusion 
of  galls. 

20.  SVMPATHETIC    INKS     TOU    SECRET    CORBES- 

rONDENCE.— Process  1.— Dissolve  muriate  of 
ammonia  in  water,  and  write; — thewritiag  will 
be  invisible.  When  you  would  make  the  writ- 
ing appear,  heat  the  paper  by  the  fire,  and  the 
writing  will  become  black. 

21.  Process  2. — Write  with  a  solution  of 
sulphate  of  iron— the  writing  will  be  invisible. 
Dip  a  feather  in  an  infusion  of  nut-galls,  and 

with  it  wet  the  paper,  and  the  writing  will  be- 
come black. 

22.  Process  3.~Write  with  a  dilute  infu- 
sion of  galls,— it  will  be  invisible.  Dip  a 
feather  in  a  solution  of  sulphate  of  iron,  ^nd 
moisten  the  paper  with  it  and  the  writing  will 
become  black. 

23.  P^octss  4. — Write  with  a   solution  of 

siib-carbo»ate  of  potass ;  wet  this  writing  with 


28  CURieUS    ARTS. 

a  solution  of  sulphate  of  iron, — it  will  take  a 
deep  yellow  colour. 

24.  Process  5. — Write  with  a  solution  of 
sulphate  of  copper, — no  writing  will  be  visible. 
Wash  the  paper  with  a  solution  of  prussiate  of 
potass, — the  writing  will  then  get  a  reddish 
brown  colour. 

25.  Process  6. — Write  with  a  solution  of 
super-carbonate  of  soda ; — moisten  the  paper 
with  a  solution  of  sulphate  of  copper,  and  the 
writing  will  become  green. 

26.  Process  7. — Write  with  diluted  nitrate 
of  silver,  and  let  the  writing  dry  in  the  dark — 
it  will  be  invisible;  but  expose  the  paper  to 
the  rays  of  the  sun,  and  the  writing  will  be- 
come black. 

27.  Luminous  ink  that  will  shine  in  the 
DARK — To  half  an  ounce  of  essential  oil  of  cin- 
namon, in  a  phial,  add  half  a  drachm  of  phos- 
phorus. Cork  the  phial  slightly,  and  set  it,  or 
suspend  it  near  a  fire,  where  the  heat  may  be 
nearly  equal  to  boiling;  continue  the  heat  four 
or  five  hours,  shaking  the  phial  frequently,  but 
cautiously  lest  any  of  the  oil  should  escape,  or 


CURIOUS    ARTS. 


29 


come  in  contact  with  atmospheric  air,  in  which 
case  it  would  take  fire.  The  cork  should  be 
set  sufficiently  light  to  exclude  atmospheric 
air,  but  not  so  as  to  prevent  the  escape  of  any 
vapour  that  might  be  produced  by  excess  of 
heat.  The  phial  may  be  afterward  removed 
from  the  fire  and  suffered  to  cool.  With  this 
phophorised  oil,  any  letters  may  be  written  on 
paper,  and  if  carried  into  a  dark  room,  will  ap- 
pear very  bright,  resembling  fire.  The  phial 
should  be  kept  corked  close,  except  when  used. 

28.       To  MAKE    A    WRITING    APPEAR    AND  DISAP- 

^PEAR  AT  PLEASURE. — Dissolvc  ccjual  parts  of  sul- 
phate of  copper  and  muriate  of  ammonia  in 
water,  and  write.  When  you  would  make  the 
writing  appear,  warm  the  paper  gently  by  the 
fire  ;  the  writing  will  appear  in  a  yellow  colour  - 
but  as  soon  as  you  take  the  paper  into  the  cold 
air,  the  writing  will  vanish.  This  may  be  of- 
ten repeated. 

29.       To  MAKE  A  WRITING  VANISH  AND  ANOTHER 

APPEAR  IS  ITS  PLACE. — Write  on  paper  with  a  so- 
lution of  sub-carbonate  of  potass, — the  writing 
will  be  invisible.  Mix  togeiher  equil  parts  of 
solution  of  sulphate  of  iron,  and  infirsion  of 


30  CURIOUS    ARTS. 

galls  ;  write  with  this  mixture  (which  is  black) 
on  the  same  paper.  Then  add  to  the  black 
liquor  a  little  sulphuric  acid,  sufficient  to  de- 
prive it  of  colour.  Wet  the  paper  with  this 
compound  ;  the  acid  will  discharge  the  colour 
from  the  last  writing,  while  the  alkali  of  the  first, 
will  precipitate  the  gallate  of  iron,  and  the 
writing  will  become  black. 

30.  To  RESTORE  OLD  WRITING  THAT  IS  NEARLY 

DEFAc:  D. — Boil  one  ounce  of  powdered  nut- 
galls,  for  an  hour  or  more  in  a  pint  of  white 
wine;  filter  the  liquor,  and  when  cold,  wet  the 
paper  with  it,  or  pass  it  on  the  lines  with  a 
camel  hair  pencil,  and  the  writing  will  be  much 
revived. 

31.  To    PAINT  A  PICTURE  THAT    WILL    APPEAR 

AND  DISAPPEAR  OCCASIONALLY. — To  half  an  ouncc 
of  nitric  acid,  add  one  drachm  of  cobalt,  one 
drachm  of  muriate  of  soda,  and  two  ounces  of 
water;  set  it  in  a  sand  bath  or  on  warm  ashes, 
where  it  must  remain  five  or  six  hours.  •  Then 
filter  the  solution,  (which  is  nitro-muriate  of 
cobalt,)  and  with  it  draw  the  trees,  and  shrub- 
bery of  a  designed  picture.  Then  with  a  so- 
lution of  oxide  of  cobalt  in  acetic  acid,  draw 


CURIOUS    ARTS.  31 

some  distant  mountains,  fences,  &c.  and  with 
muriate  of  copper,  (the  compound  solution  des- 
cribed at  28,)  draw  some  flowers,  buildings, 
&:c.  These  will  all  be  invisible  when  dry  ;  but 
warm  the  paper  and  the  picture  will  appear  in 
green,  blue  and  yellow.  It  will  disappear  again 
when  the  paper  becomes  cold. 

32.  Landscape  painting  on  walls  of  rooms. 
— Dissolve  half  a  pound  of  glue  in  a  gallon  of 
water,  and  with  this  sizing,  mix  whatever  col- 
ours may  be  required  for  the  work.  Strike  a 
line  round  the  room,  nearly  breast  high  ;  this 
is  called  the  horizon  line  :  paint  the  walls  from 
the  top  to  within  six  inches  of  the  horizon  line, 
with  sky  blue,  (composed  of  refined  whiting 
and  indigo,  or  slip  blue,)  and  at  the  same  time, 
paint  the  space  from  the  horizon  line  to  the 
blue,  with  horizon  red,  (whiting,  coloured  a 
little  with  orange  lead  and  yellow  ochre,)  and 
while  the  two  colours  are  wet,  incorporate  them 
partially,  with  a  brush.  Rising  clouds  maybe 
represented  by  striking  the  horizon  red  colour 
upon  the  blue,  before  it  is  dry,  with  a  large 
brush.  Change  some  sky  blue  about  two  shades 
with  slip  blue  and  paint  your  design  for  rivers, 
lakes  or  the  ocean.    Change  some  sky  blue  one 


S2  A-URIOUS    ARTS. 

shade  with  forest  green,  (slip  blue  and  chrome 
yellow,)  aod  paint  the  most  distant  mountains 
and  highlands;  shade  them  while  wet,  with  blue, 
and  heighten  them  with  white,  observing  always 
to  heighten  the  side  that  is  towards  the  princi- 
pal light  of  the  room.  The  upper  surface  of 
the  ocean  must  be  painted  as  high  as  the  hori- 
zon line,  and  the  distant  highlands  must  rise 
from  ten  to  twenty  inches  above  it. — Paint  the 
highlands,  islands,  &c.  of  the  second  distance, 
which  should  appear  from  four  to  six  miles  dis- 
tant, with  mountain  green,  (two  parts  sky  blue 
with  one  of  forest  green,)  heighten  them,  v?hile 
wet,  with  sulphur  yellow,  (three  parts  whiting 
with  one  of  chrome  yellow,)  and  shade  with 
blue-black,  (slip  blue  and  lamp  black  equal.) 
Paint  the  lands  of  the  first  distance,  such  as 
should  appear  within  a  mile  or  two,  with  for- 
est green  ;  heighten'  with  chrome  yellow  and 
shade  with  black;  jpccasionally  incorporating 
red  ochre,  french  green  or  whiting.  The  near- 
est part,  or  fore  ground,  however,  should  be 
painted  very  bold  wiih  yellow  ochre,  stone 
brown,  (red  and  j^ellow  ochres  and  lamp  black 
equal,)  and  black.  Paint  the  shores  and  rocks 
of  the  first  distance  with  stone  brown  ;  height- 
en with   horizon  red.  shade  with  black.     Ff)v 


CURIOUS    ART'S.  33 

those  of  the  second  distance,  each  colour  must 
be  mixed  with  sky  blue. — The  wood  lands, 
hedges  and  trees  of  the  second  distance  are 
formed  by  striking  a  small  flat  stiff"  brush  end- 
wise, (which  operation  is  called  bushir.g.  and 
is  applied  to  the  heightening  and  shading  all 
trees  and  shrubbery  of  any  distance,)  with 
mountain  green,  deepened  a  little  with  slip  blue; 
with  which  also  the  ground  work  for  trees  of 
the  first  distance  is  painted  ;  and  with  ihis  col- 
our the  water  may  be  shaded  a  little  under  the 
capes  and  islands,  thus  representing  the  reflec- 
tion of  the  land  in  the  water.  Trees  of  the 
first  distance  are  heightened  with  sulphur  yel- 
low or  french  £;reen  ;  and  shaded  with  blue- 
black-  Every  object  must  be  painted  larger  or 
smaller,  according  to  the  distance  at  which  it 
is  represented;  thus  the  proper  height  of  treos 
in  the  second  distance,  is  from  one  to  two  inch- 
es, and  other  objects  in  proportion.  Those  in 
the  first  distance  from  six  to  ten  inches  gener- 
ally; but  those  in  the  fore  ground,  which  are 
nearest,  are  frequently  painted  as  large  as  the 
walls  will  admit.  The  colours  also  for  distant 
objects,  houses,  ships,  &:c.,  must  be  varied,  be- 
ing mixed  with  more  or  less  sky  blue,  accord- 
ing to  the  distance  of  the  object.     By  these 

D 


34  CURIOUS    ARTS. 

means  the  view  will  apparently  recede  from  the 
eye,  and  will  have  a  very  striking  effect, 

33.       To     PAINT    IN    FIGURES    FOR    CARPETS    OR 

BORDERS.— Take  a  sheet  of  pasteboard  or  strong 
paper,  and  paint  thereon  with  a  pencil,  any 
flower  or  figure  that  would  be  elegant  for  a  bor- 
der or  carpet  figure;  then  with  smafl  gouges 
and  chissels,  or  a  sharp  pen  knife,  cut  out  the 
figure  completely,  that  it  be  represented  by 
apertures  cut  through  the  paper.  Lay  this 
pattern  on  the  ground  intended  to  receive  the 
figure,  whether  a  floor  or  painted  cloth,  and 
with  a  stiff  smooth  brush,  paint  with  a  quick 
vibrative  motion  over  the  whole  figure. — Then 
take  up  the  paper  and  you  will  have  an  entire 
figure  on  the  ground.  J^ote. — If  a  floor  is  to 
be  thus  painted,  in  imitation  of  a  carpet,  the 
pattern  must  be  perfectly  square,  and  the  fig- 
urje  so  designed,  that  when  several  of  theni' 
come  tc>gether,thcy  may  completely  match  each 
other ;  and  when  different  colours  are  used  in 
the  same  figure,  they  must  be  kept  a  little  sep- 
arate from  each  other,  and  wrought  with  dif- 
ferent brushes. 


CURIOUS    ARTS.  S5 

34.       To  PAINT  IN  IMITATION  OF  MAHOGANY  AND 

MAPLE. — First  give  the  work  one  or  two  coats 
of  straw  coloured  paint,  composed  ot  white  lead 
and  yellov/  ochre,  ground  in  linseed  oil,  to 
which  may  be  added  a  little  fine  litharge,  that 
the  paint  may  the  sooner  dry  ;  when  this  is  dry, 
rub  it  smooth  with  sand-paper.  Then  if  ma- 
hogany is  to  be  imitated,  stain  the  work  over 
with  boiled  linseed  oil,  coloured  a  little  with 
Venetian  red  and  burnt  terra-de-sienna,  equal 
quantities.  This  should  be  applied  with  a  short 
stiff  brush,  and  spread  very  thin  that  it  may 
not  run,  or  drip  off.  Then  with  terra-de-sien- 
na,ground  very  thick  in  oil, form  the  dark^^hades 
of  the  graining  according  to  your  design,  with 
a  small  ilat  brush.  For  this  purpose  a  com- 
mon sash-brush  may  be  made  flat,  by  having  a 
small  piece  of  wire,  or  wood,  bound  on  each 
side  near  the  handle.  Some  of  the  darker 
shades  may  be  drawn  with  burnt  umber  and 
black,  ground  together,  which  may  be  aj)pUed 
with  a  camel  hair  pencil.  If  any  part  is  to  be 
made  very  light,  the  staining  may  be  wiped  off 
carefully  with  a  ball  of  cotton.  Light  stripes, 
or  lines  may  be  produced  by  drawing  a  piece 
of  cork  or  soft  wood  over  the  work,  thus  ta- 
king oft'  or  removing  the  dark  colours,  that  tht' 


36  CURIOUS   ARTS, 

original  ground  may  appear.—  To  imitate  ma- 
ple, the  work  must  be  stained  with  yellow  ochre, 
and  burnt  umber,  ground  together  in  boiled 
oil.  Instead  of  burnt  umber,  tcrra-de-sietuia 
(unburnt)  is  sometimes  used,  but  as  different 
kinds,  or  parcels  of  it,  vavy  in  colour,  from 
yellow  to  brown,  it  may  no^  be  d»  ptuded  on 
uniformly.  The  birds'  eyes  and  curls  are  f<ir- 
med  by  removing  the  staining  from  (he  ground 
with  a  piece  of  stiffleather,  the  edges  uf  which 
are  cut  in  notches  so  that  ihe  several  points 
will  touch  the  work  at  the  same  time. 

35.  The  art  of  painting  on  glass. — If  the 
common  cakes  of  water-colors  are  to  be  u^od 
in  this  work,  they  should  be  mixed  M^ith  vva- 
ter  in  which  a  little  muriate  of  soda  has  been 
dissolved.  Other  paints  may  be  ground  in 
shellac  varnish;  or  in  linseed  oil.  but  this  will 
not  dry  so  quick.  The  most  proper  colours 
for  this  work,  on  account  of  their  transparency, 
are  india  ink,  or  lamp  black,  burnt  umber, 
burnt  terra-de-sienna,  lake  and  gamboge  or 
chrome  yellow.  These  roust  be  laid  on  very 
thin,  that  they  may  be  the  more  transparent. 
Set  up  the  glass  on  its  edge,  against  a  window, 
or  place  a  lamp  on  the  opposite  side  that  the 


CURIOUS    ARTS.  S'i 

light  may  shine  through,  and  with  a  fine  hair 
pencil,  draw  the  out  lines  of  your  design  on 
ihc  glass  with  black ;  afterward  shade  and  paint 
it  with  the  above  mentioned  colours,  observing 
to  paint  that  part  of  the  work  first,  which  in 
other  painting  would  be  done  last.  The  sha- 
ding may  be  performed  by  laying  on  two  or 
more  coats  of  the  colour,  where  you  want  it 
darker.  If  transparency  is  not  required,  a 
greater  variety  of  colours  may  be  used,  and 
laid  on  in  full  heavy  coats.  Any  writing  or 
lettering  in  this  work,  must  be  written  from 
right  to  left,  contrary  to  the  usual  order.  In 
some  pieces,  the  body  of  some  of  the  princi- 
pal objects,  may  be  left  blank,  so  that  by  pla- 
cing pieces  of  silk  or  paper  of  different  colours, 
on  the  opposite  side  of  the  glass  the  picture 
will  also  appear  in  different  colours,  and  may  be 
changed  from  one  colour  to  another  at  pleasure. 

36.     Best  method  of  polishing  stkel. — For 

this  purpose  a  wheel  must  be  provided  that  is 

perfectly  round,  and  the  rim  of  it  covered  with 

deer-skin,  or  buff-leather.     The  diameter   of 

the  wheel,  for  common  purposes  may  be  about 

two  feet;  but  for  polishing  razois,  and  some 

other  similar  instruments,  the  wheel  should  not 
D  2 


«>o  CURIOUS   ARTS. 

be  more  than  five  or  six  inches  in  diameter,  and 
two  inches  thick.  The  steel  must  first  be 
ground  smooth  as  possible  on  a  common,  or 
fine  grained  stone ;  it  may  then  be  applied  to 
the  polishing  wheel,  which  must  be  turned  with 
such  velocity  that  the  surface,  or  rim,  may  move 
rtt  the  rate  of  from  forty  to  sixty  feet  in  a 
second;  and  the  leather  must  frequently  have 
a  powder  applied,  called  crocus  of  iron,  which, 
is  prepared  by  calcining  suli)hate  of  iron,  in  a 
crucible  till  it  becomes  a  fine  red  oxide  resem- 
bling rust.  For  ordinai'y  woik,  the  leather 
may  be  moistened  with  olive  oil,  that  it  may 
the  better  retain  the  powder  ;  but  it  will  give  a 
more  perfect  polish  if  kept  d  y.  If  any  per- 
fectly plain  surfaces,  such  as  mirrors  are  to  be 
polished,  they  must  be  applied  to  the  sides  of  a 
wheel,  and  not  to  the  edge  or  rim,  in  the  man- 
ner of  other  work. 

37.       To  MAKE    LETTERS  OR  FLOWERS  OF  BLUE, 

ON  I'OLiSHED  STEEL.— Hold  ihc  stccl  ovcr  3  char- 
eoal  fire  till  it  becomes  blue  ; — let  it  cool.  Then 
with  equal  parts  of  rosin  and  beeswax,  melted 
together,  coloured  a  little  with  lamp  black,  and 
diluted  with  spirits  of  turpentine,  so  as  to  work 
freely  with  a  camel  hair  pencil,  draw  any  let- 


CURIOUS    ARTS.  ^B 

ters  or  tigures  on  the  steel,  while  it  is  a  little 
wnrm.  When  the  steel  has  become  cold,  wash 
it  over  with  muriatic  acid,  diluted  with  two  parts 
water,  to  one  of  acid ;  thus  take  off  the  blue 
colour,  and  then  wash  it  with  clear  water.  Af- 
terward the  varnish,  being  warmed  a  little,  may 
be  readily  washed  off  with  spirits  of  turpen- 
tine, and  the  letters  or  flowers  will  remain  blue. 
J^ote. — If  letters  arc  formed  or  poli>hed  steel 
with  this  variiish,  and  the  body  of  the  metal 
be  also  covered  wiih  it,  except  a  small  space 
round  the  letters,  and  then  bathed  with  muriat- 
ic acid,  the  space  round  the  letters,  will  be- 
come a  dull  iron  colour,  while  the  letters  and 
the  body  of  the  steel  will  retain  their  polished 
surface  and  brilliancy. 

38.  To  PRESERVE  THE  BRIGTNESS  OF  POLISH- 
ED STEEL. — Grind  an  ounce  of  native  pluraba*- 
go,  (such  as  is  used  for  making  lead  pencils,) 
very  fine  in  a  gill  of  spirits  of  turpentine;  then 
add  an  ounce  of  clean  bees  wax  ;  apply  a  gen- 
tle heat,  till  the  wax  is  melted,  and  continue 
stirring  it  till  it  is  nearly  cold.  Brush  over  the 
steel  with  this  composition,  and  when  the  spir- 
its have  evaporated,  rub  the  work  hard  with  a 
piece  of  glove  leather,  and  wipe  off  nearly  all 
the  wax,  that  the  metal  may  retain  its.  bright- 


40  CURIOUS    ARTS. 

ness.  This  may  be  applied  to  iron  or  steel  in 
machinery,  or  other  work,  and  will  be  "found  to 
answer  a  much  better  purpose  than  oil,  as  it 
is  less  liable  to  collect  dust  from  the  atmosphere, 
and  is,  in  general,  much  more  durable. 

39.   To  GIVE  STEEL  A  TEMPER  TO  CUT  MARBLE. 

—No  temper  can  be  given  to  steel,  in  which 
hardness  is  combined  with  tenacity,  more  than 
in  that  given  to  files,  at  the  file  manufactories, 
which  is  accomplished  by  the  following  pro- 
cess.— To  boiling  water,  add  about  twice  as 
much  finely  ground  muriate  of  soda,  as  the  y^/ 
water  will  dissolve,  and  as  much  rye  flour  as  ^f 
will,  wi*h  the  other,  make  a  thick  paste  ;  lay  a 
coat  of  this  paste  over  the  steel,  (which  must 
be  ground,  or  filed  previous  to  tempering,)  and 
subject  it  Lo  a  full  red  heat,  in  a  fire  of  char- 
coal, mixed  with  about  a  third  part  of  animal 
coal,  (coal  of  bones,  horns,  leather,  &c.)  and 
then  suddenly  plunge  it  three  or  four  feet  deep, 
in  exceeding  cold  water.  By  thus  immersing 
the  steel  rather  deep  in  the  water  there  is  a  dou- 
ble advantage ;  for  the  water  which  becomes 
heated,  by  contact  with  the  steel,vvill  rise  and  its  . 
place  be  supplied  continually  by  fresh  cold  \va- 
♦er;  and  at  the  same  time,  the  pressure  of  th^ 


OURIOUS    ARTS.  41 

water  on  the  coating  of  paste,  Avill  make  it  ad- 
here inoue  closf'ly  to  the  steel  while  it  is  cool- 
ing. .  The  paste  maj'  then  be  shelled  off,  and 
the  steel  will  be  found  as  bright  as  before,  oi 
at  least,  will  not  have  been  essentially  oxjdized 
by  the  operation. 

40.       To   WASH    IRON    OR    STEEL    WITH    COPPER. 

— Dissohe  sulphate  of  copper  in  water,  in  the 
p-oportion  of  one  to  three  ;  wash  the  iron  or 
steel  with  ii,  and  it  will  instantly  be  covered 
with  reduced  copper.  This  is  best  performed 
hy  api^lying  the  solution  with  a  l;rush,  which 
must  be  followed  directly  with  a  sponge  of 
clear  water.  In  this  manner  any  letters 
or  figures  may  be  drawn  with  a  camel-hair 
pencil,  or  a  pen,  and  if  it  be  on  polished  steel, 
the  letters  or  {lowers  will  assume  the  brilliancy 
of  the  steel  and  appear  like  highly  polished 
copper.  It  may  sometimes  be  requisite  to 
cleanse  the  metal  by  washing  it  with  diluted 
muriatic  acid,  that  the  copper  may  adhere  the 
more  readily.  If  the  steel  thus  ornamented,  bie 
held  over  a  charcoal  fire,  the  copper  figures 
become  blue  fii*st;  and  when  the  steel  becomes 
blue,  the   copper  takes  a  gold   colour :  btit  is 


42  -  CURIOUS    AETS. 

restored  again  to  its  original  colour,  by  diluted 
muriatic  acid. 

41.    T-  GIVE  IRON  THE  WHITENESS  OF  SILVER. 

To  nitric  acid,  diluted  with  an  equal  quantity 
of  water,  add  as  much  mercury  as  the  acid 
will  dissolve  ;  ihen  add  to  the  solution,  three 
or  four  times  as  much  water,  and  having  giv- 
en the  iron  a  coat  of  copper,  as  directed  in  the 
last  experiment,  brush  it  over  in  the  same  man- 
ner with  the  diluted  nitrate  of  mercury  ;  its  ap- 
pearance will  be  equal,  if  not  superior  to  that 
of  real  silver.  In  this  manner  any  common, 
or  rough  iron  work,  may  be  apparently  silver- 
ed at  a  most  insignificant  expense. 

42.  To  WASH  IRON  WITH  TIN. — Small  pieces 
of  iron  may  be  tinned,  after  being  filed  bright, 
bv  washing  them  with  a  saturated  solution  of 
mariate  of  ammonia  in  water  and  dipping 
thfem,  while  moist,  in  a  vessel  of  melted  tin.  If 
the  iron  is  of  such  form  as  cannot  be  conve- 
niently filed,  it  may  be  immersed  in  nitric  acid, 
diluted  with  as  much  water  as  acid  ;  when  the 
acid  begins  to  act  sensibly  on  every  part,  it 
may  be  washed  with  water,  and  then  with  the 
muriate  of  ammonia,  and  if  a  little  fine  rosii^ 


CURIOUS   ARTS.  43 

he  sprinkled  on  it  previous  to  dipping  it  in  the 
tin,  it  may  be  an  advantage.  The  iron  must 
remain  in  the  tin  till  it  becomes  nearly  as  hot 
as  the  tin,  otherwise  it  will  be  coated  too  thick. 
Muriatic  acid  may  sometimes  be  used,  instead 
of  muriate  of  ammonia,  and  if  the  iron  is  not 
filed,  it  will  answer  a  better  purpose.  The  in- 
side of  cast  iron  vessels  may  be  tinned  as  fol- 
lows :  Cleanse  the  iron  by  scouring  or  rub- 
bing it  with  a  sharp  grained  stone,  keeping  the 
iron  wet  with  diluted  nitric  acid.  As  the  raost 
prominent  parts  of  the  iron  will  be  first  bright- 
ened by  the  stone,  the  acid  will  also  commence 
its  action  on  the  same  'parts,  which  will  very 
much  facilitate  the  work,  while  the  hollows, 
and  deeper  parts  of  the  surface,  will  remain' 
untouched  till  the  iron  is  nearly  smooth.  When 
this  is  accomphshed,  wash  the  iron  with  water, 
"lud  then  with  clear  muriatic  acid;  turn  tl?b 
vessel  over  to  drain  off  the  superfluous  acid ; 
^hen  set  it  upright,  and  fill  it  with  melted  tin,  ^ 
"A'hich  must  bs  poured  in  cautiously,  directly 
on  the  bottom  of  the  vessel  first,  and  the  stream 
of  tin  increased  till  the  vessel  is  full;  then 
pour  out  the  tin  suddenly,  and  invert  the  ves- 
el  till  it  is  cold.  Sheets  of  iron  are  tinned,  in 
he  manufactories  of  tin  plate,  by   immersing 


44  CURIOUS    ARTS. 

the  sheets,  endwise,  in  a  pot  of  molted  tin,  the 
top  of  which  is  covered  wiih  about  two  inches 
depth  of  tallow.  This  tallow  answers  a  bet- 
ter purpose,  after  it  has  become  brown  by  use, 
than  it  docs  at  first.  The  only  preparation  of 
the  iron  sheets  is,  to  scour  them  perfectly  clean 
and  bright. 

43.  To    GIVE    TIN    THE    WHITENESS    AND    BRIL- 

UANCY  OF  SILVER. — To  tiT\  outtcc  of  nitric  acid, 
diluted  with  an  equal  quantity  of  water,  add 
nearly  an  ounce  ot  mircury,  or  as  much  as 
the  acid  will  dissolve.  When  this  is  dissolved, 
add  to  the  solution,  gradually,  half  an  ounce 
of  sulphuric  acid ;  this  will  precipitate  the 
mercury  in  the  form  of  a  white  powder  ;  when 
this  has  subsided,  pour  oft'  the  acid  and  add 
Clearwater;  thus  wash  the  powder  from  the 
acid,  then  pour  off  the  water,  and  while  the 
precipitate  is  moist,  (or  if  it  be  suffered  to  dry, 
it  may  be  again  moistened  with  water,)  rub  it 
over  the  tin  wit'i  a  piece  of  glove  leather. — 
Then  wash  the  tin  with  water,  and  when  it  is 
dry,  rub  it  pretty  hard  with  a  piece  of  fine 
woollen  cloth  ;  it  will  resemble  poHshed  silver. 

44.  To  GIVE    TIN  A  CHANGEABLE   (SRYSTALLINE 

A-ppEABANCE. — Clcanse  the    tin    by  washing  it 


CURIOUS    ARTS.  45 

with  warm  soap  and  water,  and  rinse  it  in  clear 
water.  Then  heat  the  tin  to  the  temperature' 
of  bare  sufferance  to  the  hand,  and  pour  on  it, 
or  apply  with  a  brush  or  sponge,  a  mixture 
of  one  ounce  of  muriatic  acid,  with  one  fourth 
of  an  ounce  of  sulphuric  acid,  and  two  ounces 
of  water;  then  immediately  wash  the  tin  in 
clear  water.  Another  method  is,  to  apply  in 
the  same  manner  a  solution  of  two  ounces  of 
muriate  of  soda,  in  four  ounces  of  water,  with 
one  ounce  of  nitric  acid.  In  either  case,  if  the 
crystalline  figures  are  not  bold  enough,  the  op- 
eration may  be  rrpt  ated.  If  a  very  small  fig- 
ure is  required,  the  tin  may  be  heated  nearly 
to  flowing,  and  plunged  into  cold  water,  slight- 
ly acidulated  with  nitric  and  muri  tic  acids. 
If  a  little  solder  is  drawn  over  the  tin  with  a 
hot  iron  or  copper,  in  surh  manner  as  to  form 
a  cross,  or  circle,  and  the  opi^osite  sidf  of  the 
tin  be  afti  rwards  crystallized,  it  will  have  a 
beautiful  efi\ci. 

46.   To  MAKE  A  GOLD  COLOURED  VAUNISH  FOR 

TIN — To  haif  a  pint  of  alcohoi,  in  a  flask,  add 
one  ounce  of  gum-shellac,  and  half  an  oukcc  of 
turmeric, both  in  powder;  set  the  flask  in  a  warm 
place,  frequently  shakmg  it,  for  twelve  hours  or 


46  CURIOUS    ARTS. 

more ;  then  filter  or  strain  off  the  liquor,  which 
may  be  occasionally  diluted  with  new  rum. — 
If  a  colour  is  required  resembling  duich  gold, 
a  small  quantity  oi  dragon's  blood  may  be  ad- 
ded, or  substituted  in  the  place  of  turmeric. — 
When  this  varnish  is  used,  it  must  be  applied 
to  the  work  freely  and  flowing,  and  mu*t  not 
be  brushed  or  rubbed  while  it  is  drying.  One 
or  more  coats  of  this  varnish  (o  ■  laquer  as  it  is 
sometimes  called)  may  be  laid  on  the  work,  as 
the  colour  is  rcquiieJ  (o  be  deeper  or  lighter. 
Xote. — To  make  a  rose  coloured  varnish,  pro- 
ceed as  above  directed,  only  substitute  one- 
fourth  of  an  ounce  of  the  best  lake,  finely 
o-round,  in  the  place  of  turmeric.  A  transparent 
blue  varnish  nvAy  also  be  made  by  means  of 
Prussian  blue  ;  and  pu.  pie  or  green,  by  adding 
a  little  blue  to  the  gold,  or  rose  coloured  var- 
nishes. These  laquers  are  frequently  employ- 
ed for  washing  silver  bronzed  ornaments,  to 
give  them  the  appearance  of  gold  or  copper. 

4f5.       To  MAKE  SHELLAC  VARNISH  FOR  JAPANNING. 

— To  one  quartof  the  best  alcohol,  add  half  a 
bound  of  the  thinnest  and  mo.=t  transparent  gum 
shellac  ;  mix  and  shake  these  together,  and 
let  them  stand  in  a  warm  place  for  two  or  thr^e 


CURIOUS    ARTS.  47 

days;  then  strain  the  varnish  through  a  fine 
flannel,  and  bottle  it.  Shellac  varnish  is  used 
for  japanning  lamps,  tea  trajs,  &.c.  Any  of 
the  colours  commonly  u^ed  for  oil  painting, 
may  be  ground  in  this  varnish  and  should  be 
applied  to  the  work  with  a  smooth  brush,  and 
in  a  wa'm  piace;  and  the  work  to  be  jiijian- 
ned,  should  be  perfectly  drj^  and  warm.  jVote. 
— IVlost  of  the  write  son  the  subject  of  japan- 
ningj,  hive  recom  nend»^d  seed-lac  varnish  ;  but 
it  is  a  fact,  though  not  so  generally  knov>n  as 
it  ought  to  be,  that  sheliac  and  seed-lac  are 
the  same  sul>st'ince  ;  the  onlv  difference  is, 
that  shellac  is  in  a  more  clarified  and  refined 
state,  than  that  which  is  called  seed-lac, 

47.     To  MAKE  THE  BEST  COPAL  VARNfSH. Take 

one  pound  of  gum  copal,  and  melt  in  a  fl  sk 
over  a  briskfireof  charcoal;  at  the  same  time 
in  another  flask,  boil,  or  heat  to  the  point  of 
boiHng,  one  pint  of  linseed  oil ;  as  soon  as  the 
gum  is  melted,  take  it  from  the  fire,  and  add 
the  hot  oil  in  small  quantities,  at  the  same  tisne 
stirring  or  shaking  it  till  the'y  a  e  thoroughly 
incorporated.  Allow  the  mixture  to  cool  below 
the  boiling  point  of  water,  and  then  add  nearly 
a  quart  of  spirits  of  turpentine  : — cork  the  flask 


48  CURIOUS    ARTS. 

slightly,  and  expose  it  for  a  few  clays  to  tiie 
rays  of  the  sun,  which  will  make  it  work  more 
smooth  and  shining.  If  a  larger  quantity  is  to 
be  made,  a  coj)per  boiler,  that  is  small  at  the 
top  will  answer  to  melt  the  gum  in.  Fo>  ordi- 
nary or  coarse  work,  a  larger  proportion  of  oil 
and  a  little  rosin  may  be  added.  If  oil  is  used 
in  which  red  lead  and  lith;>rge  (in  the  propor- 
tion of  half  a  pound  of  each  to  a  gallon  of  oil) 
have  been  previously  boiled,  the  varnish  will 
the  sooner  dry. 

48.       To    MAKE   A  SPIRIT  VARNISH  FOR  PICTURES 

AND  FANCY  BOXES. — To  8  pint  of  alcohol,  in  a 
fllask,  add  four  ounces  of  gum-mystic,  and  one 
ounce  of  gum-sandarac,  both  in  powder;  ex- 
pose the  mixture  to  a  gentle  heat,  sufficient  to 
produce  a  slight  cbulition  for  a  few  minutes,  fre- 
quently shaking  it,  and  the  gums  will  br  dissol- 
ved; strain  the  varnish  through  a  fine  flannel, 
bottle  and  cork  it.  Some  recommend  the  addi- 
tion of  Venice  turpentine,  by  means  of  which,  a 
small  quantity  of  gum  copal,  finely  powdered, 
may  also  be  dissolved,  but  as  venice  turpentine 
contains  a  po^'tion  of  spirits  of  turpentine,  it  ren- 
ders the  varnish  too  penetrating  for  many  pur- 
poses;   and  even  the  gum-sandarac  may  b(^ 


CURIOUS    ARTS.  49 

omitted  without  any  essentia!  disadvantage. 
This  varnish  should  be  a  little  warm  when 
used. 

4^.  To  MAKE  ELASTIC  VARNISH  FOR  UMBP EL- 
LAS, oa  HAT  CASES. — To  a  pint  of  spirits  of  tur- 
pentine, in  a  flask,  add  one  ounce  of  gum  elas- 
tic, rut  into  very  small  pieces  ;  put  in  the  cork 
slightly  and  set  the  flask  in  a  warm  place,  where 
the  heat  may  not  be  equal  to  that  of  boiling  wa- 
ter, till  the  gum-elastic  is  dissolved,  which  may 
be  eff'ected  in  four  or  five  hours.  Then  strain  the 
solution  through  a  strong  linen  or  cotton  cloth, 
and  add  half  a  pint  of  boiled  linseed  oil.  J^'oie. 
— A  larger  proportion  of  gum-elastic  may  be 
dissolved,  and  aless  cjuantity  of  oil  added,  by 
which  means  the  varnish  will  be  more  elastic, 
but  will  not  have  so  smooth  and  permanent  a 
gloss. 

50.  To  VARNISH  MAPS  AND  PICTURES. — Take 
a  piece  of  linen,  or  cotton  cambric,  rather 
larger  than  the  map  or  picture  to  be  varnished, 
and  draw  it  straight  upon  a  frame  of  conven- 
ient size,  and  confine  it  at  the  edges  by  small 
tacks  or  nails  Lay  a  thin  coat  of  fine  rye 
e2 


30  CURIOUS  ARTS. 

flour  pasfe  on  this,  and  on  the  back  of  the  pa« 
per  that  is  to  he  varnished  ;  lay  the  paper  on 
the  cambric  and  press  them  together  till  the 
paper  adheres  firmly  in  ever}"^  part.  When 
this  is  dry,  give  the  lace  of  the  print  two  or 
three  coats  of  a  strong  solution  of  gum-arabic 
hi  water,  allowing  each  sufficient  time  to  be- 
come perfectly  dry.  This  sizing  must  be  ap- 
plied with  a  large  smooth  brush,  and  must  be 
spread  over  the  work  very  quickly,  and  with 
as  little  brushing  as  possil^le.  Afterwards, 
give  the  work  one  or  more  coats  of  the  varnish 
described  at  48.  J\fote. — Very  small  prints 
may  not  require  to  be  pasted  on  cambric;  and 
if  the  paper  be  very  thick,  the  varnish  may 
be  applied  without  the  previous  sizing.  Ising- 
glass,  (which  may  be  readily  dissolved  in  boil- 
ing water)  is  sometimes  added  to  the  gum-ara- 
bic, and  increases  the  strength  of  the  sizing, 
but  is  somewhat  less  transparent  than  pure 
gum-arabic.  A  more  simple  method  of  var- 
nishing prints,  is  to  si/e  them  with  a  solution 
of  loaf  sugar,  and  finish  with  a  solution  of  ros- 
in in  spirits  of  turpentine. 

51.       To  MAKE    BRUNSWICK    BLACKING    FOR    PIC- 
TUBE  GLASSES. — Take  one  pound  of  gum-asphal- 


CttRIOUS   ARTS.  61 

turn  and  melt  it  over  a  slow  fire  ;  thrn  take  it 
fiom  the  fire  and  add  spirits  of  turpentine  in 
small  quantities,  stirring  it  briskly  till  it  is  of 
the  consistence  of  varnish.  As  there  is  some 
danger  of  its  taking  fire  when  the  spirits  of 
turpentine  is  added,  it  may  be  well  to  be  p''o- 
vided  with  a  piece  of  wet  flannel,  to  throw 
over  it  if  that  should  happen.  When  it  is 
nearly  cold,  strain  it  through  a  flannel,  and 
bottle  it  for  use.  This  blacking  is  u>ed  for 
^ordering  picture  glasses,  and  is  probably  the 
most  perfect  black  in  nature.  It  is  water 
proof  and  dries  very  quick. 

52.   To  MAKE  A  PRINT  APPEAR  ON  A  GOLD 

GROUND. — Dilute  Venice  turpentine  with  spirits 
of  turpentine  till  it  works  fieely  with  a  camel- 
hair  pencil;  lay  a  coat  of  this  varnish  on  any 
part  of  a  print  or  picture,  observing  to  keep 
the  pencil  within  the  lines,  that  the  varnish 
niriy  not  spread  beyond.  Then  lay  a  coat  of 
the  varnish  on  the  same  part  of  the  back  of 
the  paper  and  lay  on  a  leaf  of  gold  over  the 
varnished  part ;  press  down  the  gold  very  gent- 
ly with  cotton,  and  the  varnish  having  render- 
ed the  paper  transparent,  the  face  of  the  pic- 
ture will  appear  as  if  those  parts  were  printed 


02  CURIOUS    ARTS. 

in  gold.  By  this  varnish  (which  is  Ipss  liable 
to  spread  in  the  payjcr  than  oil)  pictures  may 
be  so  prepared,  that  the  colours  of  various 
parts  of  them,  may  be  varied  and  ch;inged  at 
pie- sure,  by  placing  pieces  of  siik  or  paper  of 
different  colours  on  the  back  of  them. 

53.  Bfst  method  of  tracing  or  copying 
A  PICTURE. — Perhaps  thr  most  simple  method 
of  copying  the  outlines  of  a  pii  ture,  is  to  place 
the  picture  against  a  window,  with  the  paper 
over  it,  on  which  the  copy  is  to  !>e  drawn  ;  the 
principal  lines  of  the  picture  will  be  seen 
through  the  other  paper,  and  may  readily  be 
traced  with  a  lead  pencil.  But  the  usual  man- 
ner of  copying,  in  landscape  painting,  and 
which  will  answer  for  pictures  of  any  size,  is 
to  rub  over  the  back  of  the  picture  with  plum- 
bago, or  red  orhre;  then  lay  the  picture  on 
the  ground  that  is  to  receive  the  copy,  and 
trace  the  lines  with  a  smooth  pointed  steel,  or 
piece  of  hard  wood.  The  ground  will  thus 
be  very  accurately  and  distinctly  marked,  by 
the  plumbago  or  ochre  adhering  to  the  ground 
in  the  lines  that  are  traced.  When  several 
copies  are  to  be  taken  from  the  same  pattern,, 
(which  frequently  occurs  in  ornamental  paint-' 


CURIOUS    ARTS.  5S 

ing.)  the  outlines  of  the  first  copy  may  be  per- 
forated with  some  pointed  instrument,  so  that 
being  laid  on  the  other  grounds  that  are  to  re- 
ceive the  copies,  and  brushed  over  with  a  lit- 
tle fine  dry  w  hiting.  or  red  ochre,  (as  the  case 
mny  require)  the  whiting  or  ochre  will  pene- 
trate the  pel  forated  lines  of  the  patlern,  and 
thus  mark  the  ground  on  which  it  is  laid. 

54.  The  CONSTRUCTION  and  use  of  a  copy- 
ing MACHINE. — Take  two  strips  of  wood,  which 
may  be  aloul  three  feet  long,  one  inch  wide, 
and  one-fourth  of  an  inch  thick;  lay  them  on 
a  table,  parallel  to  each  other,  and  eighteen 
inches  apart.  Across  these,  lay  three  other 
strips,  which  must  be  eighteen  inches  long, 
that  each  end  of  each  I'iece  may  rest  on  one 
of  the  longer  strips.  Two  of  these  must  lie 
across  the  opposite  ends  of  the  longer  pieces, 
and  the  other  across  the  centre,  thus  forming 
two  squares.  Drive  a  pin  through  the  ends  of 
the  short  pieces,  or  confine  them  by  rivets  to 
the  others,  but  not  so  as  to  prevent  their  play- 
ing circularly  on  the  rivets.  Then  drive  a  pin 
or  pivot  through  the  centre  of  the  middle  cross- 
bar into  the  table,  or  board  on  which  the  work 
?ies.      In  one  end  of  one  of  the  long  strips 


54  CURIOUS    ARTS. 

(which  may  project  a  little  over  the  cross-bar) 
fix  a  lead  pencil,  wiih  the  point  downward,  so 
that  it  may  bear  lightly  on  the  bonrd ;  and  un- 
der this  pencil,  place  the  paper  that  is  to  re- 
ceive the  copy.  And  in  the  opposite  end  of 
the  other  piece,  fix  a  smooth  iron  point,  in  a 
manner  similar  to  that  ofe.the  pencil,  and  under 
this  point  place  the  picture  that  is  to  be  copied. 
Then  with  the  iron  point,  carefully  trace  the 
lines  of  the  picfure,  and  the  pencil  in  the  op- 
posite corner  will  move  in  a  transverse  direc- 
tion, and  draw  the  same  picture  very  accurate- 
ly on  the  other  paper.  If  you  fix  the  pencil 
half  way  between  its  fc^rmer  place  and  the 
middle  crosh-bav,  and  remove  the  pivot  to  a 
point  that  is  directly  in  a  li^e  with  the  pencil 
and  the  iron  point,  it  will  give  a  copy  in  ex- 
act proportion,  but  onlj'  one  foui'lh  part  as 
large  as  the  picture  that  is  copied.  Thus  the 
copy  may  be  decreased  or  increased  to  any 
size,  and  still  retain  its  regular  proportions. 
In  this  manner,  painting  on  wood  or  canvass 
may  be  copied,  w'lich  could  not  readily  he 
done  in  any  other  way. 

55.       To  PRODUCE    THE  EXACT  LIKENESS  OF  ANY 

©EJECT,    iNSTAKTLY    ON   PAPER. — This  may  be 


CURIOUS    ARTS.  56 

reauily  effected  by  laying  the  paper  on  a  ta- 
ble, and  holding  a  double  convex  lens  (a  com- 
mon sun-glass^  over  it,  and  then  placing  a  mir- 
ror over  the  lens,  in  an  oblique  posi  ion  so  as 
to  face  partly  downward,  and  partly  towards 
the  object  that  is  to  be  represented.  The  rays 
of  light  passing  from  the  object  to  the  mirror, 
will  be  reflected  downward  through  the  lens, 
and  produce  the  likeness  of  the  object  in  full 
colours  on  the  papet'.,  This  experiment  may 
be  easily  made  in  ihe  evening,  by  reflecting  the 
flame  of  a  candle  in  this  manner,  which  will  * 
appear  very  brilliant  on  the  papr-r.  But  in  or- 
der to  render  the  reflection  of  an  object  dis- 
tinctly visible  by  day  light,  it  maybe  requisite 
to  exclude  nearly  all  the  light  from  the  paper, 
except  what  falls  through  the  lens.  In  all  cas- 
es, the  lens  must  be  placed  at  a  distance  above 
the  paper,  according  to  its  focus,  or  the  dis- 
tance at  which  it  would  contract  the  ra^ys  of 
the  sun  to  the  smallest  point.  A  very  conven- 
ient camera  obscura,  for  drawing  landscapes, 
or  even  portraits  may  be  constructed  as  follows; 
Make  a  box  of  boards,  in  the  form  of  a  regular" 
cube,t).eingone  foot  in  length, breadth  and  height; 
bor  a  hole  of  one  inch  dia  neter,  through  the 
centre  of  the  top ;  and  on  this,  fix  a  double 


36  CURIOUS    ARTS. 

convex  lens,  the  focus  of  which  must  reach  the 
bottom  of  the  box.  Make  an  aperture  of  about 
SIX  inches  in  length,  and  one  in  breadti;,  through 
one  side  of  the  box  at  the  top,  by  shaving  off, 
or  hollowing  the  edge  in  such  manner  that  when 
you  put  your  face  to  the  aperture  to  look  into 
the  box,  it  will  exclude  all  the  light  except 
what  falls  through  the  lens.  Make  a  hole 
through  each  end  of  the  box,  near  the  bottom, 
large  enough  to  put  in  the  hands,  with  paper 
and  pencil.  On  the  top  of  the  box,  on  the  right 
and  left  sides  of  the  lens,  fix  two  pieces  of 
boards,  which  may  be  about  four  inches  high, 
eight  inches  long,  and  three  inches  distant  from 
each  other.  Between  these  boards,  fix  a  piece 
of  looking  glass,  three  inches  square,  and  fac- 
ing from  you;  the  lower  edge  of  the  glass,  be- 
ing near  the  lens,  on  the  side  towrw  ds  you  ;  and 
the  upper  edge  inclining  towards  you  about 
thirty  degrees  from  a  perpendicular.  Directly 
over,  and  nearly  four  inches  above  the  lens, 
place  another  mirror,  the  centre  o'  which  must 
face  directly  towards  the  lower  edge  of  the  first. 
Cover  the  glass-box  so  as  to  exclude  all  the 
light  from  the  glasses  except  what  falls  on  them 
horizontally  from  objects  directly  in  front  of 
you,  and  place  a  sheet  of  paper  on  the  bottom 


CURIOUS   ARTS.  67 

of  the  box  inside.  The  rays  of  lierht,  passing 
from  objects  in  front,  will  be  reflected  tVom  the 
first  mirror  to  the  second,  and  fiom  the  second, 
through  the  lens  to  the  paper,  where  you  will 
have  a  perfect  similitude  of  the  objects  in  view, 
in  full  colours,  and  true  perspective,  and  may 
trace  them  on  the  paper,  with  a  pencil  or  pen, 

56.  Copper-plate  engraving. — Fo'"  this  pur- 
pose, provide  a  plate  of  copper,  rather  larger 
than  the  design  Uiat  is  to  be  engraved,  and  may 
be  about  one  sixteenth  of  an  inch  thick  ;  plan- 
ish by  rubbing  it,  fir.-t,  directly  length-wise,  and 
afterwards  breadth-wise  with  a  piece  of  pum- 
ice-stone, which  may  be  dipped  occasionally 
in  a  mixture  of  one  part  nitric  acid,  with  six  or 
seven  parts  water. — Then  wash  the  copper 
with  clear  water,  and  rub  it  with  an  oil  stone 
that  h;is  a  plane  surface;  and  then  polish  it  with 
a  piece  of  charcoil,  that  has  been  ignited  to 
redness  and  quenched  in  cold  water.  After- 
wards burnish  the  copper  by  rubbing  it  with 
polished  steel.  Lay  a  piece  of  transparent  pa- 
per on  the  design  that  is  to  be  engraved,  and 
trace  the  principal  Hues  with  a  lead  pencil ; — 
then  brush  over  the  copy  or  tracing  with  dry 

F 


1(8  CURIOUS    ARTS. 

red  ochre,  and  having  rubbed  the  copper  plate 
with  a  piece  of  bees-wax,  lay  the  red  side  of 
the  tracing  on  the  plate;  then  with  a  smooth 
iron  point,  trace  the  same  lines  again,  that  they 
ma}^  thus  be  trajisferred  to  the  plate  by  means 
of  the  red  ochre  and  wax.  Take  up  the  paper 
and  trace  the  lines  on  the  plate  with  a  needle, 
thus  scoring  the  lines  slightly  on  the  copper. 
Then  warm  the  plate  and  wipe  off  the  wax,  or 
wash  it  off  with  spirits  of  turpeniine,  and  rub  the 
plate  with  fine  dry  whiting.  The  next  instru- 
ment to  proceed  with  is  the  graver;  consisting 
of  a  bhide  of  steel  about  three  inches  long, 
which  is  fixed  in  a  convenient  handle  like  an 
awl.  .  The  form  of  the  grave.r  should  be  trian- 
gular, or  between  a  triangle  and  lozengr,  hav- 
ing two  sides  plane  and  the  other  round  or  swell- 
ed; and  should  taper  regularly  from  the  han- 
dle to  the  point,  or  nearly  so,  but  the  point  must 
be  ground  off  obliquely  so  that  the  edge  may 
extend  a  little  farther  than  the  back;  and  the 
edge  should  rise  a  little  rounding  towards  the 
point.  It  is  very  essential  that  the  edge  and 
point  of  the  graver  should  be  kept  very  sharp. 
The  m:mner  of  holding  the  graver,  is  to  take 
the  handle  into  the  hollow  of  the  hand,  pressing 
it  with  three  fingers,  on  one  side,  and  the  thumb 


CCTRIOUS    ARTS.  59 

on  the  other,  and  extend  the  fore  fino-er  on  the 
back  of  the  blade  towards  the  point. — The 
edge  of  the  graver  must  rest  on  the  plate,  and 
its  motion  when  cutting  muist  be  endwise  in  all 
cases  ;  though  there  evidently  m.ight  be  a  grav- 
er constructed,  which  might,  in  some  easel,  be 
handled  in  a  manner  more  similar  to  that  of  a 
pen  or  pencil.  A  graver  of  a  square  form  may 
also  be  requisite,  for  cutting  large  and  broad 
lines  occasionally.  In  proceeding  to  engrave 
the  plate,  begin  with  the  outlines,  observing 
to  press  harder  or  lighter  on  the  graver,  as  the 
lines  require  to  be  larger  or  smaller,  and  finish 
each  line  with  the  same  motion  if  possible, 
without  taking  the  graver  off  the  plate.  Hav- 
ing cut  the  outlines,  proceed  to  fill  up,  and 
shade  the  work  discretionally,  according  to  the 
design.  It  may  le  requisite,  after  part  of  the 
■work  is  engraved,  to  scrape  it  lightly  with  the 
edge  of  the  graver,  to  take  off  any  roughness, 
that  may  have  been  formed  on  the  part  engrav- 
ed.  If  after  finishing  the  design,  any  part  ap- 
pears to  have  been  improperly  executed,  such 
parts  may  be  erased  by  the  burnisher,  and  may 
be  re-engraved  with  the  requisite  amendments. 


60  CURIOUS    ARTS. 

57.  Etching  on  copper  plates. — Melt  to- 
gether two  ounces  of  bees-wax,  and  one  ounce 
of  Venice  turpentine,  and  when  the  wax  is 
melted  and  boils,  add  by  small  quantities,  two 
ounces  of  gum-asphaltum,  stirring  the  mixture 
hriskiy  at  the  same  time ;  and  when  the  mix-' 
ture  is  w<ll  incorporated,  take  it  from  the  fire, 
let  it  cool  a  little,  and  then  pour  it  into  warm 
water,  and  by  working  it  wilh  tiie  hands,  form 
it  into  balls  of  about  an  inch  in  diameter,  and 
wrap  each  of  them  in  a  piece  of  taft'cty,  or 
thin  silk.  Then,  having  prepared  and  polish- 
ed a  plate  of  copper,  as  directed  for  copper- 
pl'.te  engraving,  warm  the  plate  sufliciently  to 
mf^ltthe  balls  of  wax  varnish,  and  rub  one  of 
them  over  it,  till  every  part  of  the  polished 
side  is  covered  with  the  varnish ;  then  w.ith  a 
ball  of  cotton,  wraj'ped  or  tied  up  in  taffety, 
beat  every  part  of  the  varnished  plate  gently, 
■while  the  vai-nish  is  yet  flowing,  that  it  may 
spread  the  more  even  and  uniformly.  Then 
hold  the  plate  in  a  horizontal  position,  with  the 
varnished  side  down,  and  hold  the  flame  of  a 
wax  candle  under  it,  or  a  small  roll  of  paper 
that  has  been  dipped  in  melted  wax,  and  thus 
blacken  the  varnish  while  the  plate  is  yet 
warm   enough  to  keep  it   in  a  melted  state. 


CURIOUS    ARTS.  Gi 

When  the  varnish  has  become  sufficiently  and 
uniformly  black,  let  the  plate  cool,  and  having 
drawn  the  design  on  transparent  paper,  rub 
over  the  face  of  it  with  chalk  ;  then  wipe  off 
most  of  the  chalk  with  a  piece  of  flannel,  lay 
the  chalked  side  on  the  vainish,  and  trace  the 
lines,  somewhat  minutely,  with  a  smooth  round 
pointed  needle.  Then  take  up  the  paper,  and 
proceed  to  scoring  the  lines  in  the  varnish. 
For  this  purpose  you  must  be  provided  with 
several  needles  of  diffeient  sizes,  and  fixed  in 
handles,  which  may  be  about  four  inches  long, 
and  nearly  half  an  inch  in  diameter,  and  the 
needle  may  project  three  fourths  of  an  inch 
from  the  handle.  Some  of  these  may  be 
ground  a  little  flat  on  one  side,  and  others  may 
be  round,  but  taper  more  abruptly  at  the  point. 
These  needles  may  be  held,  and  managed 
much  the  same  as  a  pen.  Begui  scoring  w'th 
the  out  lines,  observing  to  cut  completely 
through  the  varnish,  but  it  is  not  requisite  to 
scratch  the  copper,  except  in  making  very 
heavy  lines,  when  it  cannot  well  be  avoided. 
Having  finished  scoring  the  varnish  according 
to  the  design,  fix  a  border  of  wax  (composed 
of  two  parts  bees-wax  and  one  of  venice  tur- 
pentine) round  the  work,  on  the  margin  of  the 
f2 


62  CURIOUS    ARTS, 


plate.  This  border  may  be  about  half  an  inch 
high,  and  must  be  fixed  to  the  plate  while 
warm.  Then  pour  on  as  much  nitric  acid,  di- 
luted with  an  equal  quantity  ■:  f  water,  as  the 
plate  with  the  border  will  contain.  In  about 
fifteen  minutes  pour  off  the  acid,  and  examine 
whether  it  has  sufficiently  corroded  any  part 
of  the  work;  if  so,  lay  a  mixture  of  warm  tal- 
low and  linseed  oil  over  such  p;irts  with  a  hair 
pencil,  and  again  pour  on  the  acid.  In  half  an 
hour  more  the  acid  may  be  poured  off,  and  the 
plate  being  warmed,  the  border  may  be  re- 
moved, and  the  vainish  may  be  wiped  off  with 
a  piece  of  linen  cloth ; — the  plate  may  then  be 
Avashed  with  olive  oil,  and  cleansed  as  before 
with  dry  fine  whiting.  Note — Different  artists 
use  a  variety  of  different  preparations  of  var- 
nish for  the  purpose  of  etching.  In  some  old 
reci}>es,  virgin  wax,  calcined  asphaUum,  gum 
mastic,  amber,  colophony,  greek  pitch,  burgun- 
dy pitch,  black  pilch,  resin,  shoe  makers'  wax, 
&c.  &c.  are  mentioned.  But  it  is  believed  that 
the  above  described  varnish,  while  it  is  much 
more  simple,  will  answer  equally  as  well  for 
young  practitioners ;  and  it  is  not  expected  that 
any  will  attempt  very  nice  work,  without  fur- 


CURIOUS  ARTS.  63    ^ 

ther  information  than  they  could  expect  to  ob- 
tain from  the  sketches  in  this  little  collection. 

58.  Engraving  and  scraping  in  mezzotinto. 
— Having  prepared  a  plate  of  copper,  proceed 
to  score  it  so  full  of  lines,  cross-lines  and  diag- 
onal lines,  that  when  they  arc  filled  with  ink, 
the  plate  may  appear  quite  black.  For  this 
purpose  an  instrument  will  be  requisite  that  is 
fashioned  similar  to  a  chissel,  the  round  or  slop- 
ing  side  being  scored  or  filed  near  the  point, 
with  lines  or  notches  very  near  to  each  other, 
so  as  to  form  a  set  of  sharp  uniform  teeth  at 
the  edge ;  this  instrument  is  called  a  cradle,  and 
should  be  a  little  round  at  the  corners.  This 
cradle  must  be  moved  over  the  plate,  in  the 

(  manner  of  a  graver,  scoring  the  plate  uniform- 
ly in  various  directions.     When  the  scoring  is 

'  finished,  take  a  scraper,  which  may  be  similar 
to  a  knife,  having  two  edges,  and  sloping  on 

j  each  side  towards  the  point ;  with  this,  scrape 
oft'the  roughness  of  the  plate,  in  such  places 
as  is  required  to  be  the  lightest  in  the  print; 
such  parts  as  recjuire  to  be  shaded  partially, 
may  not  be  scraped  so  deep,  while  the  points 
that  ai  e  to  be  the  brightest  may  be  burnished 
quite  smooth  with  the  polished  end  of  a  piece 


64  CURIOUS    ARTS. 

of  sleel,  about  the  size  of  a  large  nail,  and 
some  of  the  heaviest  out-lines  ma)'  be  cut  with 
a  graver.  Thus  any  poriraits  or  other  figures 
may  be  formed  on  the  plate,  with  due  propor- 
tion of  light  and  shade,  and  will,  if  properly 
managed,  give  an  impression  on  paper,  equal 
in  elegance  to  any  that  might  be  produced  by 
other  means. 

59.  Etching  in  aqua-tinta. — Polish  the  plate 
of  copper,  the  same  as  for  engraving;  moisten 
the  plate  with  water  and  sift  on  finely  powder- 
ed rosin  and  gum  asphaltura,  so  as  to  nearly 
cover  the  plate  ;  then  warm  the  plate  sufficient 
to  make  the  powder  adhere,  but  not  to  melt  it 
entirely.  Transfer  the  design  to  the  plate,  and 
cover  such  parts  as  are  intended  to  remaiis 
white,  with  a  varnish  composed  of  bees  wax 
and  linseed  oil,  which  may  be  coloured  a  very 
little  with  black,  and  must  be  applied  to  the 
work,  while  warm,  with  a  camel  hair  pencil. 
Then  fix  a  border  of  wax  round  the  plate,  and 
pour  on  diluted  nitric  acid.  In  about  one  min- 
ute, pour  off  the  acid,  and  wash  theplite  with 
clear  water,  but  without  refecting  the  varnish  ; 
— dry  the  plate,  and  apply  the  varnish  to  such 
parts  of  the  design  as  are  intended  to  have  but, 


CURIOUS    ARTS.  65 

a  faint  shade ;  then  apply  the  acid  for  a  minute 
or  two  longer.  Thus  proceed  biting  in,  and 
stopping  out  alternately,  till  every  part  of  the 
design  has  acquired  its  proper  shade.  But  if 
any  part  requires  a  darker  shade  than  the 
ground,  the  powdered  rosin  may  be  removed 
from  such  parts  with  a  scraper.  When  the  plate 
has  become  sufficiently  corroded,  the  varnish 
may  be  washed  off  with  oil,  or  spirits  of  turpen- 
tine, and  the  plate  may  be  cleansed  with  whit- 
ing. 

60.  Copper-plate  printing. — The  paper  on 
■which  impressions  from  a  copper-plate  are  to 
be  taken,  should  be  moistened,  or  wet  down 
two  or  three  days  previous  to  printing  ;  this  is 
performed  by  dipping  the  sheets  in  water  sev- 
erally', and  then  laying  them  all  together  under 
a  heavy  Aveight  till  they  are  used.  When  the 
paper  is  ready,  the  copper-plate  may  be  warm- 
ed over  a  chafing  dish  of  coals,  and  the  engrav- 
ed side  completely  covered  and  all  the  lines  fill- 
ed with  common  printing  ink,  or  ink  made  of 
Frankfort  black,  finely  ground  in  old  linseed 
oil.  This  may  be  done  by  means  of  a  printing 
bab,  or  the  ink  may  be  spread  on  the  plate  with 
a  smooth  stiff  brush.     The  plate  may  then  be 


66  CURIOUS   ARTS. 

wiped  with  a  piece  of  linen  or  cotton  cloth,  and 
afterward  with  the  hand,  being  passed  slowly 
but  hardly  over  the  plate  to  take  off  all  the  ink 
except  what  remains  in  the  lines  of  the  engrav- 
ing; to  accomplish  which  more  effectually,  the 
hand  may  be  rubbed  occasionally  with  dry 
whiting.     When  the  plate  is  thoroughly  clean- 
ed of  the  redundant  ink,  it  may  be  laid  on  the 
table  of  a  rolling  press,  and  having  a  sheet  of 
the  moistened  {)apcr  laid  upon  the  face  ot  it, 
and  a  piece  of  fine  broad-cloth  over  the  paper, 
the  whole  may  be  passed    through  the  press. 
Then  on  taking  up  the  paper,  it  will  be  found 
to  have  received  a  black  impression  from  the 
plate,  according  to  the  engraving  or  etching, 
and  the  plate  may  be  (gain  carried  to  the  lire, 
to  be  blacked  again  as  before.     This  is  the  us- 
ual  manner  of  printing;  but  when   a  rolling 
press  is  not  at  hand,  the  plate  and  moistened 
paper  may   by  other  means,  be  pressed  hard 
and  firmly  together,  and  the  paper  will  have 
received  the  impression  e-qually  as  fair.     Any 
of  the -colours,  commonly  used  in  oil  painting, 
being  ground  very   thick  in  oil  may  be  substi- 
tuted for  ink  in  copper-plate  printing.     The 
plate,  after  being  used,  should  be  wiped  clean 
with  a  piece  ot  flannel,  moistened  with  olive  oil. 


CURIOUS   ARTS.  67 

61.  Etching  letters  or.  flowers  on  glass. — 
Select  a  piece  of  glass  that  is  thick  and  straight, 
and  lay  a  coat  of  melted  bees-wax  on  the  fair- 
est side ;  then  with  a  needle,  pen-knife,  or  any- 
other  convenient  pointed  instrument,  trace  any 
design,  or  picture,  which  being  placed  under 
the  glass,  may  be  seen  through  the  wax ;  or 
form  any  letters  or  figui-es  on  the  glass,  care- 
fully cutting  or  scoring  quite  through  the  wax, 
and  making  the  Unes  large  or  small  as  occasion 
may  require.  Then  warm  a  piece  of  the  wax, 
so  as  to  form  it  into  a  roll,  about  one  fourth  of 
an  inch  in  diameter;  lay  this  roll  round  the 
work  upon  the  glass,  and  press  it  down  so  as 
to  make  it  adhere  to  the  glass,  thus  forming  a 
border.  Then  take  some  finely  powdered  flu- 
ate  of  lime,  and  strew  it  evenly  over  the  glass, 
on  the  waxed  side,  that  it  may  fill  all  (he  lines  in 
the  wax;  and  then  gently  pour  upon  it,  so  as 
not  to  displace  the  powder,  as  much  sulphuric 
acid,  diluted  with  thrice  its  weight  of  v.'ater, 
as  is  sufficient  to  cover  the  powdered  fluate  of 
lime.  Let  every  thing  remain  in  this  state  for 
three  hours ;  then  pour  off  the  mixture,  and 
clean  the  glass,  by  washing  it  with  spirits  of 
turpentine.  The  figures  which  were  scored  in 
the  wax,  will  be  found  engraven  on  the  glass ; 


68  CURIOUS    ARTS, 

while  the  parts  which  the  wax  covered,  will  be 
uncorrodcd. — This  glass  plate  may  be  charged 
with  ink,  (or  any  thick  oil  paint)  and  impres- 
sions may  be  taken  from  it  on  paper,  the  same 
as  from  copperplates,  only  caution  is  requisite, 
that  the  glass  be  not  broken  by  the  pressure, 
JVb/fi.— The  fluoric  acid,  which  is  partly  absorb- 
ed by  the  water,  in  the  above  process,  being 
very  corrosive,  should  not  be  suffered  to  touch 
the  hands,  nor  any  valuable  vessel  whatever. 

62.     To  PRINT  FIGURES  WITH  A  SMOOTH  STONE, 

—Take  a  piece  of  marble  or  slate,  and  form  a 
smooth  plane  surface  on  one  side,  and  on  this, 
paint  any  letters  or  figures  with  common  oil 
paint  of  any  colour.  When  this  is  dry,  wet 
the  stone  with  water,  which  will  not  adhere  to 
the  painted  figures,  especially  if  the  points  were 
mixed  with  old  linseed  oil,  that  will  produce  a 
sharp  gloss.  Then  apply  a  printer's  ink-ball  to 
the  plane  surface,  by  which  means  the  dry 
painted  figures  will  be  covered  with  the  ink, 
while  the  bare  surface  ofthesione,  being  wet, 
will  not  be  blackened  or  affected  by  if.  Presii 
the  figured  surface  upon  some  moistened  paper, 
and  it  will  give  a  fair  impression  of  the  painted 
figures,  on  the  paper.    The  block  of  stone  must 


CURIOUS   ARTS.  69 

be  then  dipped  in  the  water,  and  again  inked 
as  before.  Thus  many  impressions  may  be 
taken  with  a  tolerable  degree  of  accuracy. 

63.       To  CUT  GLASS  WITH  A  PIECE  OP    IRON. 

Draw  with  a  pencil  on  paper,  any  pattern  to 
which  you  would  hnve  thr  gUiss  conform  ;  place 
the  pattern  nndf  r  the  glass,  holding  hoth  togeth- 
er in  the  left  hand,  (for  the  gUiss  must  not  rest 
on  any  plane  surface ;)  then  take  a  common 
spike  or  some  similar  piece  of  iron, — heat  the 
point  of  it  to  redness,  and  apply  it  to  the  edge 
of  the  glass;  draw  the  iron  slowly  forward, 
and  the  edge  of  the  glass  will  immediately 
crack;  continue  moving  the  iron  slowly  over 
the  glass,  tr-.icing  th.e  pattern,  and  the  chink  in 
the  glass  will  follow  at  the  distance  of  about 
half  an  inch,  in  evi^ry  dii-ection  according  to 
the  motion  of  the  iron.  It  m:iy  sometimes  be 
found  requisite,  however,  espi'cially  informing 
corners,  to  apply  a  wc!.  finger  to  fhf^  opposite 
side  of  the  glass.  TumHlrrs  and  other  glasses 
may  be  cut  or  divided  very  fancifully  hy  simi- 
lar means.  The  iron  must  be  reheated  as  of- 
ten as  the  crevice  in  the  glass  ceases  to  loUow, 


70  CURIOUS    ARTS^ 

64.  Best  cement  for  joining  glass.- — If 
the  glass  is  not  likely  to  be  exposed  to  moisture, 
the  pieces  may  be  joined  by  a  solution  of  equal 
parts  of  gum-arabic  and  loaf  sugar  in  water; 
or  if  these  are  not  at  hand,  the  white  oi  an  egg 
may  answer  nearly  as  well.  But  a  strong  wa- 
ter proof  cement  that  is  equally  transparent, 
may  be  made  by  digt'sting  finely  powdered 
gum-copal,  in  thrice  its  weight  of  suipuric  ether 
tilUt  is  dissolved.  This  solution  may  be  ap- 
plied to  the  edges  of  the  broken  glass,  with  a 
camel  hair  pencil,  and  th<  pieces  must  be  put 
together  immediately  and  pressed  close  till  they 
adhere. 

65.  Best  cement  for  joining  china  or 
CROCKERY. — H«  at  a  pit  ceot  chalk  to  a  full  red 
heat  in  a  fire;  and  while  this  is  healing,  take 
the"  white  of  an  egg,  and  mix  and  beat  tog^th- 
er  with  it,  one  fourth  of  its  weight  of  powder- 
ed or  scraped  ch(^i  se,  (such  as  is  most  voiti  of 
cream,  or;  oily  matter  is  preferable)  or  the  curd 
that  is  formed  by  adding  vineg;ir  to  skimmed 
milk; — take  (he  chalk  from  tee  fire,  and  before 
it  is  cold,  reduce  it  to  powder,  and  a'id  as  much 
of^it  to  the  mixture  as  will  form  a  fhirl  piste, 
and  beat  them  anew  all  together,  and  u>o  tlu; 


CURIOUS    ARTS.  71 

composition  imm<diaieiy.  When  this  is  dry, 
it  willr(si»t,  in  a  great  measure,  either  heat  or 
moistur*'.  A  ^erni-tran.'•pa^ent  cement,  suit  ihle 
for  chin;<  ware,  may  be  made  fty  gently  boil- 
ing the  flour  of  rice  with  water. 

6G,       To  MAKE  A  STRONG    WATER  PROOF   GLUE. 

— Dis<olv(  common  glue  in  water  in  tr.e  usual 
way,  ;ind  dip  into  it  some  clean  paper,  sufficient 
to  take  up  an  ou;if  e  or  niore  of  the  glue.  When 
the  piper  i^  n<  acly  dry, roll  if  up, or  cut  it  into 
strips  and  put  ths  m  inio  a  \vi  Je  mouthed  pbial 
or  fla>k,  with  af  oui  ft)ur  ounces  of  alcohol; 
susfi'-nd  this  ov^r  a  fire  so  as  to  boil  it  gently 
for  an  hour,  having  the  cork  set  in  slightly  to 
prevent  its  t^kii.g  fire,  hu'  not  so  as  to  prevent 
thf>  Vi^p'  ur  entirely.  Th*  ii  take  out  the  paper 
((!;e  only  use  of  whi.  h  is  to  give  the  glue  more 
surface  for  the  action  of  the  alcohol)  and  add 
one  ouiue  of  gum'shellac  in  powder  ;  continue 
the  heat,  often  shaking  the  mixture  till  the 
shellac  is  dissolved.  1  hen  evaporate  it  to  the 
piopi T  consistence  for  use.  Mote. — Many  ex- 
pf'riments  have  been  made,  in  order  to  discov- 
er some  aqueous  size,  that  when  dry,  would 
resist  moistur<  :  and  some  have  recommended 
ckimmed  milk,  and  ottiers  vinegar  as   a  men- 


12  CURIOUS    ARTS. 

struum  for  the  glue.  But  it  does  not  appear 
from  trial,  that  either  of  these  are  but  very  lit- 
tle better  for  this  purpose  than  water;  nor  is  it 
probable  that  any  similar  tuimposition  of  size 
will  resist  moisture  much  better  Ci\\n  comnion 
glue,  especially  if  it  be  mixed  with  t>ulptate 
of  lime,  or  some  similar  substance  by  way  of 
support. 

67.  The  art  of  moulding  figures  in  re- 
lief.— Mix  together  and  temper  with  a  solu- 
tion of  gum-arabic  in  water,  on^  part  of  clean 
sifted  wood-ashes,  and  two  parts  ol  fine  sulphate 
of  lime.  Knead  this  composition  on  a  board, 
till  it  has  the  consistence  of  putty.  Press  a 
ball  of  this  putty  on  any  medal,  coin  or  carved 
work  in  relief,  (which  must  be  previously  oiled) 
and  let  it  dry;  then  take  off  the  mould  thus 
formed,  and  oil  the  part  that  has  received  the 
impression  of  the  figure,  with  olive  oil ; — make 
a  small  orifice  through  the  mould,  from  the 
Centre,  or  deepest  part  of  the  impre-^sion;  al- 
so, pare  oft' the  border  of  tne  mould,  to  within 
half  an  inch  of  the  impressed  fiuurc.  Then 
lay  a  small  piece  of  the  putty  on  the  board 
and  press  the  mould  down  hard  upon  it,  that 
it  may  not  only  fill  the  mould,  but  that  the 


CURIOUS    ARTS.  73 

redundant  part  may  he  pressed  out  beyond  the 
border  of  the  mould :  raise  the  mould  a  little 
and  blow  through  the  orfice,  to  detach  the 
new  moulded  figure  from  the  mould.  Thus 
any  number  of  figures  may  be  readily  pro- 
duced, suitable  for  ornamentmgchimnf}'  pieces, 
or  mouldings,  and  which  will  be  very  hard 
when  dry,  and  may  be  painted  with  any  col- 
oured oil  paints,  which  will  also  preserve  them 
from  moisture. 

68.      To  CAST    IMAGES    IN    PLASTER. For    thls 

purpose  a  model  of  the  figure  that  is  to  be  cast, 
must  be  provided,  and  suspended  by  a  rod  or 
staff,  one  inch  in  diameter,  and  fixed  in  the 
top  of  the  head.  This  model  may  be  made 
of  wood,  chalk,  or  any  other  substance  that 
is  smooth,"  and  sufficiently  cohesive  to  support 
itself.  This  being  prepared,  mix  fine  sulphate 
of  lime  with  water,  to  the  consistence  of  soft 
putty,  and  having  brushed  some  olive  oil  over 
the  model,  cover  it  completely  with  the  plaster, 
which  must  be  applied,  and  spread  over  it  with 
the  hands,  to  the  depth  of  two  inches  or  ni  <re. 
When  the  plaster  is  nearly  dry,  divide  it  into, 
sevrral  parts  with  a  thin  blade,  so  as   to  take 

ii  off  from   the  model   W'ithout  breaking  any 
G  2 


74  CURIOUS   ARTS* 

part.  When  the  several  parts  of  the  moulJ  are 
drj,  oil  them  inside  and  put  them  toge.her  as 
before,  and  bind  them  with  pieces  of  tape  or 
twine ;  set  the  mould  upright,  and  fill  it  with  a 
fresh  mixture  of  sulphate  of  lime  and  water,  of 
as  much  consistence  as  may  be  poured  in 
through  the  aperture  at  the  head.  This  plas- 
ter should  be  poured  into  the  mould  as  quick 
as  possible  after  being  mixed  otherwise  it 
would  become  too  stiff,  and  be  spoiled.  The 
plaster  in  the  mould  will  soon  cohere,  so  that 
the  mould  may  be  taken  off,  and  the  figures 
may  be  set  up  to  dry ;  and  the  mould  being 
oiled  and  put  together  again,  is  ready  for 
another  cast. 

69.  To  PRODUCE  EMBOSSED  LETTERS,  OR  FIG- 
URES ON  MARBLE. — Take  some  of  the  coloured 
varnish  described  at  37,  and  with  a  hair  pencil, 
draw  the  letters,  &c.  on  the  marble,  (which 
should  be  previously  well  polished,)  and  also 
cover  with  the  varnish,  every  part  of  the  face 
of  the  marble  that  is  to  remain  plain.  Lay 
the  marble  in  a  horizontal  position  and  make 
a  border  of  oil  putty  round  it,  and  pour  on 
muriatic  acid  to  the  depth  of  half  an  inch  on 
the  marble.     When  ebullition  ceases,  the  acid 


CURIOUS    ARTS.  75 

may  be  drained  off,  and  the  work  examined  ; 
and  if  the  letters  are  not  sufficiently  promin- 
ent, a  fresh  quantity  of  the  acid  may  be  added. 
When  the  work  has  been  thus  corroded  to  the 
depth  required,  the  varnish  may  be  washed 
oft'  with  spirits  of  turpentine.  The  acid  that 
has  been  thus  employed  need  not  be  lost,  for 
a  muriate  of  lime  being  thus  formed,  may  be 
crystallized  by  a  slight  evaporation,  and  pre- 
served for  other  purposes  ;  or  by  the  addition 
of  a  small  quantity  of  sulphuric  acid  a  sulphate 
of  lime  is  precipitated,  and  the  muriatic  may 
be  poured  off  and  be  used  again  for  the  same 
or  a  similar  purpose. 

70.  To  SOFTEN  STONE. — Marble  or  granite 
may  be  deprived  in  some  measure,  of  the  prop- 
erty of  cohesion  by  being  heated  red  hot  and 
then  quenched  in  oil.  In  this  case,  the  carbo- 
nic acid  which  constitutes  the  cohesive  proper- 
ty of  the  stone,  is  expelled  by  the  heat;  and 
the  vacuum  thus  produced  in  its  pores,  are  in 
some  measure,  filled  by  the  oil  by  the  press- 
ure of  the  atmosphere;  by  which  means  the 
stone  acquires  a  texture  quite  different  from 
what  it  had  previously.  This  however,  is  not 
often  applied  to  any  valuable  purpose. 


76  CURIOUS    ARTS. 

71.       ToCHANGE  WOOD  APPARENTLY,  TO  STONE. 

— Provide  a  block,  or  plank  of  soft  wood,  of 
the  dimensions  required,  and  give  it  two  or 
three  coats  of  linseed  oil,  allowing:  each  to  dry. 
Then  having  prepared  some  pieces  of  marble 
or  granite  as  directed  in  the  last  experiment, 
pulverize  them  to  a  gross  powder;  brush  over 
the  wood  with  a  heavj  coat  of  copal  varnish 
(see  47)  mixed  with  an  equal  quantU}-'  of  venice 
turpentine  ;  \ci  this  rest  about  an  hour,  and  then 
strew  the  stone  powder  over  every  part  of  it,  so 
as  to  cover  the  surface  completely.  If  marble 
is  to  be  imitated,  the  powder  of  different  col- 
ours, especially  the  white  and  blue,  may  be 
prepared  separately,  and  may  be  strewed  on 
the  work  in  such  shades  as  will  aj)pear  the  most 
natural.  Granite  may  also  be  crossed  or  stri- 
ped occasionally  with  streaks  of  a  coarser  grain, 
which  will  give  it  a  very  deceptive  effect. 
When  the  varnish  is  thus  covered  with  stone,  a 
heavy  roller,  or  round  log  of  wood,  having  a 
blanket  folded  and  wrapped  round  it,  should 
be  rolled  over  the  work,  that  the  larger  grauis, 
(which  of  course  will  be  the  most  exposed,)  may 
the  more  firmly  adhere.  In  this  manner,  a  very- 
perfect  imitation  of  stone  may  be  given,  and  the 
wood  thus  prepared  will  be  exceedingly  durn- 


CURIOUS    ARTS-  'JT 

ble,  and  Will  answer  for  many  purposes,  as  well 
as  real  stone, 

72.  To  RENDER  WOOD,  CLOTH  OR  PAPER  FIRE- 
PROOF.— Dissolve  one  ounce  of  alum,  half  an 
ounce  of  sub-borate  of  soda  and  h:ilf  an  ounce 
of  cherry  tree  gum,  in  half  a  pint  of  vinegar* 
Dip  any  cloth  or  pieces  of  paper,  or  wood,  ia 
this  mixture  and  let  them  dry  ; — they  cannot  af- 
terwarcis  be  ignited  so  as  to  blaze,  but  may  be 
considered  safe  with  regard  to  their  taking  fire 
by  accident,  Kate. — Though  this  composition 
is  a  ve7-y  powerful  preventive  against  fire,  it 
is  too  complex,  for  common  use,  and  has  too 
much  colour  for  white  cloths  or  papers;  but  a 
solution  of  one  ounce  of  sub-borate  of  soda  in 
a  pint  of  water  is  very  transparent  and  harm- 
less, and  will  answer  in  most  cases  nearly  as 
well. 

73.      To    PRODUCE  FIRE    READILY. PrOCeSS  1 . 

Mix  together  gently  but  intimately,  two  or 
three  grains  of  chlorate  of  potass,  and  an  equal 
quantity  of  loaf  sugar,  both  previously  reduc- 
ed to  fine  powder  : — di^'  the  end  of  a  strip  of 
glass,  or  a  straw  in  sulphuric  acid,  and  with  it 
gently  touch  the  powder, — it  will  instantly 
burst  into  flame. 


78  CURIOUS    ARTS. 

74.  Process '2,, — Upon  one  drachm  of  spirits 
of  turpentine,  in  a  glass,  pour  an  equal  quanti- 
ty of  a  mixture  of  three  parts  of  nitric,  with 
one  of  sulphuric  acid.  Instantaneous  mflamma- 
lion,  accompanied  by  the  production  of  a  large 
quantity  of  black  smoke,  will  be  the  result. 

75.  Process  3.—  Take  a  piece  of  phospho- 
rus of  the  size  of  a  pin's  head,  and  wrap  it  in 
a  piece  of  dry  brown  paper :  rub  the  paper 
with  a  piece  of  wood,  or  any  hard  body,  and  it 
will  instantly  inflame.  J>fote. — In  handling  phos- 
phorus, it  is  proper  to  have  apiece  ofpnper  or 
cloth  intervene  between  the  stick  of  phosjihos  us 
and  the  fingers  ;  and  the  phosphorus  should  be 
kept  under  water  except  when  wanted  for  use. 

76.  To  MAKE  SUPER-COMBUSTIBLE  MATCHES. 

Pr'  pf  re  any  nunjber  of  small  strips  or  splinters 
of  pine  or  other  light  wood,  which  may  be  about 
two  inches  in  length  and  one  twelfth  of  an  inch 
in  diameter;  dip  one  end  ofea<  h  in  melted  sul- 
phur to  the  depth  of  one  fourth  of  an  inch. 
"V\  hen  they  are  cold,  scrape  off  most  of  the  sul- 
phur, and  dip  the  ends  of  them  slightly  in  a 
paste  made  of  ten  parts  of  chlorate  of  potass, 
five  parts  of  loaf  sugar  and  one  part  of  red  lead, 


^gURlOUS    ARTS.  79 

mixed  and  ground  toirethcr  in  alcohol.  After- 
wards they  may  be  readily  ignited  or  kindled 
at  any  time  by  application  of  the  smallest  cjuan- 
tity  of  sulphuric  acid.  For  this  purpose,  the 
ends  of  them  may  be  dipped  or  rather  barely 
touched  to  the  acid  in  a  phial,  or,  which  is  a  bet- 
ter way,  a  strip  of  glass,  or  even  wood  may  be 
dipped  in  the  acid  and  applied  to  the  match. 

77.  To  MAKE  GUN  POWDER. — PuIvcrizc  sep- 
arately, five  drachms  of  nitrate  of  potass,  one 
of  sulphur,  and  one  of  newly  burnt  charcoal. 
Mix  them  together  with  a  little  water,  so  as  to 
make  the  compound  into  a  dough ;  form  this 
dough  into  rolls  of  the  size  of  a  small  wire,  which 
may  be  done  by  rolling  small  quantities  be 
tween  two  boards.  Lay  a  few  of  these  rolls 
together,  and  cut  them  into  very  small  grains, 
and  place  them  on  a  sheet  of  paper,  in  a  warm 
place,  to  dry.  The  dough  may  be  prevented 
sticking  tothe  board  while  rolling  it,  by  rubbing 
on  the  board,a  little  of  the  dry  compound  pow- 
der. When  the  grains  are  thoroughly  dry,  they 
arc  ready  for  use  or  experiment.  On  the  same 
principle,  gun  powder  is  manufactured  on  the 
large  scale,  but  then  the  several  parts  of  the 


80  CURIOUS   ARTS. 

operation,  are  performed  by  machinery,  otii- 
erwise  it  would  be  a  very  expensive  commodity. 

78.  To  MAKE  THE  COMMON  FULMINATING  POW- 
DERS.— Grind  and  mix  intimately,  three  parts 
of  nitrate  of  potass,  with  two  of  sub-carbonate 
of  potass,  and  one  of  sulphur.  If  half  a  drachm 
of  this  compound  be  placed  on  a  shovel,  and 
held  over  a  gentle  fire,  it  will  soon  explode  with 
a  loud  report.  It  is  not,  however,  attended  with 
any  danger.  If  two  grains  of  chlorate  of  pot- 
ass in  powder  and  one  of  sulphur  be  mixed  to- 
gether, and  wrapped  in  a  piece  of  strong  paper, 
and  the  paper  be  then  struck  with  a  hammer, 
it  will  also  explode  with  detonation.  This  ex- 
periment may  require  some  caution.  Note, — 
The  percussion  powder,  such  as  is  used  for 
priming  the  patent  percussion  rifles,  is  compos- 
ed of  chlorate  of  potass,  and  flour  of  sulphur, 
•with  a  trifling  proportion  of  charcoal  and  loaf 
sugar,  being  made  into  a  paste  or  dough  with 
alcohol, — then  grained  and  dried. 

79.      To   MAKE     THE    MERCURIAL    FULMINATING 

POWDER. — Dissolve  half  an  ounce  of  mercury 
in  three  ounces  of  nitric  acid,  assisting  the  so- 
lution by  a  gentle  heat.     When  the  solution 


CURIOUS    ARTS.  81 

is  cold,  pour  it  upon  an  equal  quantity  of 
strong  alcohol  previously  introduced  into  a  flask, 
and  apply  a  moderate  heat  till  effervescence  is 
excited.  (Do  not  forget  that  the  mercurial  so- 
lution must  be  poured  upon  the  alcohol,  and 
not  the  alcohol  upon  the  solution.)  A  white 
fume  will  soon  begin  to  undulate  on  the  surface 
of  the  liquor,  and  flow  through  the  nock  of 
the  flask,  and  a  white  powder  will  be  gradually 
precipitated.  As  soon  as  any  precipitate  ceas- 
es to  fall,  quickly  pour  the  contents  of  the 
flask  on  a  filter;  wash  the  powder  with  pure 
water,  and  cautiously  dry  it  by  a  heat  not  ex- 
ceeding that  of  boiling  water.  The  immediate 
washing  the  powder  is  material,  because  it  is 
liable  to  the  re-action  of  the  nitric  acid ;  and 
while  any  of  that  acid  adheres  to  it,  it  is  very 
subject  to  be  decomposed  by  the  action  of 
light.  This  powder,  if  very  pure  and  nicely 
made,  explodes  by  percussion,  or  a  moderate 
degree  of  heat.  Experiment, — Place  one- 
fourth  of  a  grain  of  this  powder,  between  the 
ends  of  two  slips  of  paste-board,  and  paste,  or 
bind  them  firmly  together; — hold  the  ends  of 
the  slips  over  the  flame  of  a  candle,  and  as  soon 
as  it  becomes  warm,  it  will  explode  with  a  loud 

report.     This  composition   is   less  dangerous 
n 


'S2  CURIOUS    ARTS. 

than  the  fulminating  compounds  of  gold  or  sil- 
ver, as  it  never  explodes  spontaneously;  but 
yet  it  cannot  be  handled  with  too  much  caution. 
J^ote. — The  silver  powder,  or  fulminating  sil- 
ver, with  which  torpedoes  and  Waterloo  crack- 
ers are  charged,  is  prepared  in  a  similar  man- 
ner; pure  silver  being  dissolved  instead  of 
mercury,  but  it  is  too  dangerous  to  be  trifled 
tvith. 

80.      To    KINDLE   A    FIRE    UNDER    WATER. Put 

into  a  deep  wine-glass,  that  is  small  at  the  bot- 
tom, three  or  four  bits  of  phosphorus,  about  the 
size  of  flax  seeds,  and  two  or  three  times  the 
quantity  of  chlorate  of  potass,  in  grains  or 
crystalls,  and  fill  the  glass  nearly  full  of  water. 
Then  place  the  end  of  a  tobacco-pipe  stem  di- 
rectly on,  or  over  the  chlorate  and  phosphorus, 
and  pour  nearly  a  tea-spoon  full  of  sulphuric 
acid  into  the  bowl  of  the  pipe,  that  it  may  fall 
dirertly  on  the  phosphorus;  a  violent  action 
will  ensue,  and  the  phosphorus  will  burn  vi- 
vidly, with  a  very  curious  light  under  the 
water. 

tSl.      To  LIGHT    A   CANDLE   BY   APPLICATION    OF 

ICE. — Attach  to  the  wick  of  a  candle,  a   small 


CURIOUS    ARTS.  bS 

piece,  or  s;lobQle  of  potassium  (the  metallic  base 
of  potass)  of  the  size  of  a  small  shot.  Apply 
an  icicle  or  point  of  ice  to  the  metal,  and  it  will 
instantly  inflame.  J^ote. — This  curious  sub- 
stance, which  has  the  pecuhrir  property  of  be- 
ing ignited  by  coming  in  contact  with  ice  or 
water,  has  been  lately  discovered  by  Sir  Hum- 
phrey Davy.  It  is  produced  by  n)aking  pure 
potass  a  part  of  the  circuit  of  a  powerful  Vol- 
taic battery.  It  cannot  be  preserved  but  by 
being  kept  immersed  in  naptha,  a  kind  of  oil 
of  which  oxygen  is  not  a  co^ituent. 

82.   To  FORM  LETTERS  OR  FLOWERS  OF  REAL 

TLAME. — I^rovide  a  tin  chest  of  aljout  eighteen 
inches  in  length,  equal  in  height  and  one  inch  in 
breadth.  Chalk  any  design,  of  letters  or  flow- 
ers on  the  face  of  this  chest,  and  pierce  each 
line  with  rows  of  small  holes,  which  should  be 
about  half  an  inch  distant  from  each  other. — 
Make  an  aperture  at  the  top,  through  which 
pour  about  a  pint  of  a  mixture  of  rum  and 
spirits  of  turpentine.  Place  two  or  three  lamps 
undrr  the  bottom  of  the  chest  (which  must  be 
raised  a  little  from  the  floor  for  that  purpose) 
to  warm  the  spirits,  but  not  so  as  to  cause  them 
to  boil.     Stop  the  aperture  at  the  top  and  af- 


84 


CURIOUS    ARTS. 


ter  eight  or  ten  minutes  (which  time  should  be 
allowed  for  the  vapour  to  expel  the  atmos- 
pheric air,  which  otherwise  would  cause  an 
explosion)  apply  the  flame  of  a  lamp  to  the 
pierced  lines ; — in  an  instant,  all  the  lines  will 
be  covered  with  flame,  which  will  continue  till 
the  spirits  are  exhausted. 

83.       To  PRODUCE  FLAME    OF  VARIOUS    COLOURS. 

— This  may  be  effected  by  mixing  certain 
substances  with  burning  alcohol,  or  by  apply- 
ing them  with  the  point  of  a  pen-knife,  to  the 
wick  of  a  burning  lamp  or  candle.  Thus  a 
beautiful  rose  or  carmine  coloured  flame  may 
be  produced  by  muriate  of  strontia  :  this  is 
prepared  by  dissolving  carbonate  of  strontia 
in  oniriatic  acid,  and  evaporating  it  to  dryness. 
The  pi-<  paration  for  an  orange  colour,  is  muri- 
ate of  lime;  (a  solution  of  miirble  in  muriatic 
acid,  evaporated  to  crystallization)  which 
should  be  exposed  to  a  moderate  heat  till  it  is 
deprived  of  its  water  of  crystallization  and  falls 
to  powder.  A  fine  green  tinge  is  produced  by 
acetate  of  copper,  or  boracic  acid  ;  which  last 
'  is  procured  by  adding  sulphuric  acid  to  a  solu- 
tion of  borate  of  soda  (in  hot  water)  till  it  has  a 
sensibly  acid  taste ;  as  it  cools,  the  boracic  acid 


CURIOUS   ARTS.  85 

IS  deposited  in  crystals  on  the  sides  of  the  ves- 
sel. Camphor  gives  to  flame  a  blue  colour  ; 
and  nitrate  of  strontia  (prepared  the  same  as 
the  muriate)  a  purple.  A  brilliant  yellow  may 
also  be  produced  by  muriate  of  soda.  Any  of 
these  preparations  being  reduced  to  powder, 
may  be  ignited  with  three  or  four  times  their 
weight  of  alcohol,  which  should  be  previously 
warmed  ;  and  if  the  vessel  that  contains  it  be 
kept  heated  also,  the  combustion  will  be  the 
more  brilliant, 

84.    To  MAKE  SKY-ROCKETS  AND  FIRE  WHEELS. 

—Grind  and  mix  together,  (dry)  one  pound  of 
gun-powder,  ixvo  ounces  of  sulphur,  two  ounces 
of  nitrate  of  potass,  and  four  ounces  of  newly 
burnt  charcoal.  Then  make  several  strong 
paper  cases  or  cartridges,  by  wrapping  some 
strong  paper  (being  moistened  with  paste.)  fif- 
teen or  twenty  times  round  a  mould  made  of 
wood,  which  may  be  one  inch  in  diameter,  and 
ten  inches  in  length.  One  end  of  this  mould 
must  be  made  smaller,  being  only  one  fourth 
of  an  inch  in  diameter  for  the  space  of  an  inch 
of  its  length :  The  paper  must  be  drawn  up 
close  round  this  neck,  and  strongly  bound  with 
twine,  being  thus  brought  to  a  shape  similar  to 
h2 


86  CURIOUS    ARTS. 

the  neck  of  a  phial.     This  neck  is  called  the 
ciioke  of  the  cartridge.     Take  the  paper  from 
the  mould,  and  proceed  in  the  same   manner 
Wiih  another.     When  a  sufficient  number  of 
cartrid^^es  are  thus  made  and  dry,  place  one  of 
them  in  a  socket  which  it  will  fill  up  closely, 
&UV.  then  fill  the  cartridge  with  the  above  de- 
scribed   compound    powder,  which  must   bo 
thrown  into  the  cartridge  in  small  quantities, 
and  each  several  quantity  must  be  rammed  or 
beat  down  veiy    hard,  with  a   suitable   sized 
rammer  and  mallet.     In   filling  the  cartridge, 
small  quanlilies  of  any  of  the  flame-colouring 
preparations,  described  in  the  precfding  arti- 
cle, may   be  added  occasionally.     When  the 
cartridge  is  nearly  full,  some  small  barlls  of  cot- 
ton, dipped  in  spirits  of  turpentine,  may  be  ad- 
ded, to  produce  the  appearance  called  stars. — 
These  also,  may  have  some  muriate  of  slrontia, 
or  boracic  acid  strewed  on  them.     Then  place 
a  circular  piece  of  thick  paste   board,  on   the 
materials  in  the  cartridge,  having  a  small  hole  • 
through  it,  communicating  with  the  powder  be- 
low; lay  upon  this,  half  an  ounce  of  fine  gun 
powder,  and  fold  the  paper  down  upon  it  from 
§11  sides,  cementing  the  folds  firmly  with  glue, 
ihus  giving  the  end  of  the  cartridge  a  conical 


CURIOUS    ARTS.  87 

tbrm.  Then  bore  a  hole  about  two  thirds  of 
the  length  of  the  cartridge  from  the  choke  with 
a  gimblet  or  bit.  Fill  this  hole  (which  must 
be  as  large  as  the  choke,  but  tapering  towards 
the  other  end  with  fine  gunpowder,  to  the 
choke,  and  fill  the  choke  with  the  compound, 
the  outside  of  which  may  be  moistened  a  little, 
the  better  to  keep  it  in  its  place.  Finish  the 
others  in  the  same  manner,  and  keep  them  in 
a  warm  dry  place  till  used.  They  are  then 
to  be  lashed  firmly  to  the  end  of  a  light  pine 
rod,  with  the  choke  towards  the  opposite  end. 
The  length  of  the  rod,  should  be  about  nine 
times  that  of  the  cartridge.  The  rocket  then 
being  elevated  by  the  rod,  and  being  ignited 
at  the  choke,  the  compound  inside  burning  in- 
tensely, acts  upon  the  air,  and  causes  it  to  as- 
cend. The  cartridges  for  fire  wheels,  are  pre- 
pared in  the  same  manner,  but  are  generally 
smaller;  and  instead  of  being  lashed  to  a  rod, 
they  are  lashed  to  the  arms  of  a  wheel,  in  such 
manner,  that  n  violent  rotary  motion  is  produc- 
jed  by  their  combustion. 

85.       To     PRODUCE     DETONATING     BALLOONS. 

Moisten  and  compress  a  bladder  till  no  air  re- 
mains in  it,  and  tic  the  neck  of  it  upon  a  per- 


88 


CURIOUS   ARTS. 


forated  cork ;  set  the  cork  in  a  flask  contain- 
ing the  materials  for  producing  hydrogen  gas 
(see  9.)  Thus  convey  into  the  bladder  a 
quantity  of  the  gas,  and  then  remove  the  cork 
to  another  flask,  containing  two  or  three  oun- 
ces of  black  oxide  of  manganese,  moistened 
with  sulphuric  acid,  sufficient  to  form  with  it  a 
soft  paste  ;  apply  the  heat  of  a  lamp,  and  oxy- 
gen gas  will  be  evolved,  and  will  also  rise 
through  the  neck  of  the  flask  ;  in  this  manner, 
convey  into  the  bladder,  nearly  half  as  much 
oxygen  gas,  as  it  previously  contained  of  hy- 
drogen. Then  tie  the  stem  of  a  tobacco-pipe 
in  the  neck  of  the  bladder,  and  dip  the  bowl  of 
the  pipe  in  a  solution  of  soap  in  water,  (soap- 
suds^) and  compress  the  bladder  a  little,  so  as 
to  swell  a  bubble  from  the  bowl  of  the  pipe  ;— 
shake  off  the  bubble,  which  being  lighter  than 
atmospheric  air  will  naturally  rise,  or  float 
horizontally  in  the  air.  If  the  flame  of  a  can- 
dle be  brought  in  contact  with  one  of  these 
balloons,  or  floating  bubbles,  it  will  explode 
with  a  violent  detonation,  resembling  the  re- 
port of  a  pistol.  If  this  compound  gas  be  for- 
ced into  the  water,  so  as  to  form  several  bub- 
bles on  the  surface,  and  flame  be  then  applied 
to  them,  a  volley  of  explosions  will  be  the  re- 


CURIOUS    ARTS.  89 

suit.  Caution  is  requisite  in  these  experiments, 
that  the  fire  be  not  communicated  to  the  blad- 
der, as  such  an  explosion  might  not  be  saf^ 

86,  To  PREPARE  A  PHIAL  THAT  WILL  GIVE  LIGHT 

IN  THE  DARK. — Fill  a  Small  phial  about  one  third 
full  of  olive  oil ;  add  to  this  a  piece  of  phos- 
phorus equal  to  one  tenth  of  the  weight  of  the 
oil.  Cork  the  phial  and  wrap  it  in  paper  to 
exclude  the  light,  and  set  it,  or  suspend  it  in  a 
warm  place,  but  where  the  heat  may  not  be 
equal  to  that  of  boiling  water,  till  the  phos- 
phorus appears  to  be  dissolved.  This  phial 
may  be  carried  in  the  pocket,  and  whenever 
the  cork  is  started  in  the  night,  the  phial  will 
evolve  light  enough  to  show  the  hour  on  a 
watch. 

87.  To  MAKE  A  person's  FACE  APPEAR  LUMIN- 
OUS IN  THE  DARK. — Prepare  some  phosphorized 
oil,  (as  directed  27,)  and  rub  it  over  the  face. 
This   oil,    though  it    appears  luminous  in  the 

dark  has  not  power  to  burn  any  thing,  so  that 
it  may  be  rubbed  on  the  face  or  hands  without 
danger;  and  the  appearance  thereby  produ- 
ced, is  most  hideously  frightful.  All  the  parts 
of  the  face  that  have  been  rubbed,   appear  try 


90  CURIOUS    AETS. 

be  covered  with  a  luminous  bluish  flame,  and 
the  mouth  and  eyes  appear  as  black  spots. — 
The  luminous  appearance  may  also  be  repeat- 
edly heightened,  by  the  friction  of  a  handker- 
chief, being  rubbed  over  the  luminous  part. 

88.       To  FREEZE   WATER  IN    WARM  WBATHER. 

Draw  a  thread  through  a  small  glass  tube  j 
close  one  end  and  then  fill  the  tube  with  wa- 
ter. Mix  together  equal  parts  of  nitrate  of 
ammonia  and  water,  and  immerse  the  tube  in 
this  mixture.  The  water  in  the  tube  will  be 
frozen  immediately,  and  may  be  drawn  out 
by  the  thread.  The  same  effect  may  be  pro- 
duced by  a  mixture  of  one  part  muriate  of  am- 
monia, one  part  nitrate  of  potass,  and  three 
parts  of  water.  For  these  experiments,  the 
above  mentioned  salts  should  be  fresh,  dry  and 
finely  pulverized  previous  to  mixing;  the  mix- 
ture should  be  made  in  a  tin  vessel  that  is  coat- 
ed inside  with  bees- wax,  and  has  a  flannel 
wrapper  round  the  outside,  and  the  tube 
should  be  immersed  quickly,  as  soon  as  the  in- 
gredients are  mixed.  To  produce  a  greater, 
or  intense  degree  of  cold,  a  small  vessel  of  wa- 
ter is  first  set  in  one  of  those  freezing  mixtures 
till  it  becomes  very  cold,  and  then  the  due. 


CURIOUS   ARTS.  91 

proportion  of  the  salts  are  added  to  that,  and 
the  tube,  &:c.  immersed  in  it.  The  water  in 
the  tube  may  also  be  frozen,  by  continually 
bathing  the  outside  of  it  with  sulphuric  ether  : 
the  evaporation  of  the  ether,  carries  off  the 
caloric  of  fluidity,  and  the  water  congeals. 

89.   To  CHANGE  THE  COLOURS  OF  ANIMALS. 

Any  black,  or  dark  coloured  spots  on  some  an- 
imals, especially  horses,  may  be  effectually 
changed  to  white,  by  means  of  any  substance 
that  will  chafe  or  blister  the  skin  ;  thus  a  white 
spot  of  any  shape  may  be  produced  on  a  black 
horse,  by  shaving;  off  the  hair  from  the  part 
that  is  to  be  thus  marked,  and  applying  a  plaster 
of  Spanish  flies,  or  of  quick  lime  moistened  with 
vinegar;  this  plaster  must  be  cut  to  the  rsize 
•and  form  recpiired  for  the  mark,  and  must  be 
kept  bound  on,  lill  the  skin  is  blistered,  or 
nearly  so.  The  next  coat  of  hair  will  infalli- 
bly be  white.  White  spots  can  be  changed  to 
black  or  brown,  only  by  means  of  oils  or  grease. 
Bacon  fat  has  been  recommended  for  this  pur- 
pose, but  if  the  oil  or  fat  of  a  bear  can  be  pro- 
cured, it  will  prove  more  eflicacious,  as  this  fat 
is  well  known  to  havp  a  remarkable  tendency 
to  darken  the  colour  of  animals  and  even  com= 


92  CURIOUS    ARTS. 

plexions.  But  either  of  these,  and  in  fact,  ma- 
ny other  kinds,  will  answer  this  purpose  if 
properly  applied,  and  frequently  repeated. 

90.  To  GIVE    LEATHER  A  BEAUTIFUL   METALLIC 

LUSTRE. — Levigate  one  ounce  of  soft  lead-col- 
oured plumbago,  and  an  equal  quantity  (in 
bulk)  of  lamp-black,  in  a  gill  of  alcohol;  then 
add  half  an  ounce  of  loaf  sugar,  moistened  with 
water  and  grind  all  together.  The  leather 
must  first  be  brushed  over  smoothly  with  this 
composition,  and  when  dry,  it  must  be  brushed 
hard  and  quickly  with  a  dry  smooth  brush;  or 
may  be  rubbed  with  a  piece  of  woollen  cloth. 
This  blacking  will  be  found  useful  for  some 
ornamental  purposes,  but  may  be  rather  too 
brilliant  for  boots  and  shoes.  This  composi- 
tion, however,  may  be  mixed  occasionally  with 
other  kinds  of  blacking,  and  will  tend  to  in- 
crease their  brightness. 

91.  An  EASY  METHOD  OF  EXTRACTING  THE  ES- 
SENCE OF  ROSES. — Take  the  leaves  of  roses,  and 
pound  or  bruise  them:  then  stratify  them  with 
an  equal  weight  of  muriate  of  soda,  in  a  glaz- 
ed carthern  vessel : — when  thus  filled  to  the 

top,  cover  it  well,  and  set  it  in  the  cellar,  and 


CURIOUS    ARTS.  -        93 

let  it  remain  at  rest  a  month  or  more.  After- 
wards, strain  offthc  essence  therefrora,  through 
a  strong  cloth  by  pressure.  The  essence  thus 
procured,  is  quite  equal  if  not  superior  for  culi- 
nary purposes,  to  that  which  is  procured  by 
distillation. 

92.       To  PREPARE  VARIOUS  KINDS  OF    ESSENfcES. 

—The  manner  of  extracting  the  essential  oils, 
being  attended  with  considerable    expense  of 
preparations,  of  stills,  &c.  a  particular  descrip- 
tion of  the  process,  would  not,  it  is  presumed, 
be  sufficiently  interesting  to  warrant  its  inser- 
tion.    But  the  manner  of  reducing  the  oils  to 
the  state  in  which   they  are   more   generally 
sold,  and  is  distinguished  by  the  term  "  essen- 
ces" is  as  follows.     To  half  a  pint  of  alcohol, 
add  one  ounce  of  any   of  the   essential   oils, 
(lemon,  cinnamon,  foxberry,  peppermint,  &c.) 
and  shake  them  together  ;  set  the  mixture  in  a 
warm  place  for  a  few  minutes,  and  if  then  any 
.opaque  or  milky  appearance  remains,  a  little 
more  alcphol  must^  be  added.     When  this  has 
become  clear,  it  may  be  diluted   occasionally 
with  new  rum.     The  essences  of  foxberry  and 
^innamon  are  coloured  with  a  few  drops  of  tine- 


94  CURIOUS    ARTS. 

ture  of  red  saunders  ;  and  the  essence  of  lem- 
on, Avith  tincture  of  turmeric. 

93.  To  PREPARE  SODA  wATER.^Only  two  ar- 
ticles are  requisite  for  this  preparation ;  one 
of  which  is  super-carbonate  of  soda,  or  of  pot- 
ass (sal  eratu?,)  and  the  other  is  citric  or  tar- 
taric acid.     The  super-carbonates  are  formed 
by  passing  a  stream  of  carbonic  acid  gas  (which 
is  produced  by  adding  muriatic  acid  to  pulver- 
ized marble)  through  a  solution  of  soda  or  pot- 
ass in  water  ;— then  evaporating  till  it  crystal- 
lizes.    Citric  acid  is  prepared  from  the  juice 
of  lemons:  and  tartaric  acid   (which  is  more 
generally  employed)  is  procured  from   super- 
tartrate  of  potass.     But  these  being  common 
articles  of  commerce,  a  more  minute  descrip- 
tion of  the  process  of  preparing  them,  may  not, 
in  this  place,  be   expedient.     The  compound 
called  soda-powders,   consists   of    about   ten 
grains  of  either  of  the  super-carbonates,  with 
an  equal  quantify  of  either  of  the  acids,  in  each 
paper;  this   compound  being  dissolved  in  a 
glass  of  water,  produces  violent  effervescence, 
and  if  drank  off  at  the  time,  gives  the  water  a 
smart  and  agreeable  acid  taste.     The  salt  and 
acid,  if  mixed  in  powder,  must  be  kept  perfect- 


CURIOUS  ARTS.  do 

]y  dry  ;  otherwise,  they  would  acton  each  oth- 
er, and  soon  be  spoiled.  On  this  account,  they 
arc  frequently  prepared  in  separate  papers, 
and  sold  by  sets.  Soda  water  is  siniilarlj'  pre- 
pared on  the  larger  scale  ;  the  salts  and  acid 
being  put  into  a  cask  of  water,  which  is  so 
confined,  that  the  carbonic  acid  can  have  no 
other  vent  than  by  forcing  out  the  water  through 
a  pipe  fixed  for  the  purpose  with  a  tube,  &,c. 

94.       To  PRODUCE  METALLIC  TREES.      PrOCesS  I. 

— Mix  one  part  of  a  saturated  solution  of  ni- 
trate of  silver,  with  twenty  parts  of  pure  water, 
and  pour  the  mixture  upon  two  parts  of  mercu- 
ry in  a  phial.  After  some  time  (the  mercury 
being  left  standing  quietly,)  the  branches  and 
the  figure  of  a  tree,  formed  of  brilliant  silver, 
will  appear  to  grow  from  the  mercury  in  a 
very  beautiful  manner.  The  silver  in  solution 
being  thus  robbed  of  its  oxygen  by  the  metal- 
lic mercury,  and  consequently  precipitated. 

95  Process  2. — Dissolve  two  drachms  of 
acetate  of  lead,  in  six  ounces  of  water;  filter 
the  solution,  and  pour  it  into  a  clean  wide  phi- 
al. Then  suspend  a  granule  of  zinc,  by  a 
thread  or  wire  fastened   to  the  cork  of  the 


96  CURIOUS    ARTS. 

phial,  in  the  middle  of  the  solution,  and  place 
the  phial  where  it  will  not  be  disturbed.  Af- 
ter a  few  hours  the  lead,  being  de-oxydized 
by  the  zinc,'  will  be  precipitated  on  the  zinc, 
in  the  shape  of  leaves,  which  will  have  a  very 
brilliant  appearance. 

96.  To  TIN  COPPER  By  BOILING. — Boil  half 
a  pound  of  granulated  tin,  and  six  ounces  of 
super  tartrate  of  potass  in  three  pints  of  water ; 
when  they  have  boiled  half  an  hour,  put  in 
any  piece  of  copper  ware,  and  continue  the 
boiling  fifteen  minutes  longer.  The  copper 
may  then  be  taken  out,  and  will  have  been 
handsomely  coated  with  tin. 

97.  A  METAL  THAT  WILL  MELT  IN  HOT  WA- 
TER.— Melt  together  eight  parts  of  bismuth, 
five  of  lead  and  three  of  tin.  This  alloy, 
though  hard  and  brilliant,  when  cold,  is  so  ea- 
sily fusible  that  it  may  be  melted  on  a  paper, 
being  held  over  the  flame  of  a  candle.  Tea 
spoons  may  be  made  of  ihis  compound  metal, 
which  may  be  melted  by  putting  them  in  a  cup 
of  hot  tea. 

93.  Illustration  of  calico  printing. — 
It  frequently  occurs,  that  substances  of  difler- 


CURIOUS    ARTS.  9*1 

ent  colours,  or  even  without  colour,  by  coming 
in  contact,  produce  colours  very  different  from 
that  of  either  of  the  ingredients  when  separate ; 
thus,  if  a  sheet  of  paper  be  striped  in  one  di- 
rection with  a  hair  pencil  dipped  in  a  solution 
of  sub-carbonate  of  potass;  and  then  crossed 
with  a  solution  of  sulphuric  acid,  diluted  with 
five  times  as  much  water,  it  will  be  colourless  ; 
but  dip  it  in  a  mixture  of  a  weak  solution  of  sul- 
phate of  iron,  and  infusion  of  nut  galls,  and  it 
will  instantly  become  a  beautiful  plaid;    the 
ground  being   purple,  striped  one  way  with 
black  and  crossed  with  white.      If  a  similar 
paper  be  striped  with  sub-carbonate  of  potass, 
and  crossed  with  infusion  of  galls,  and  after- 
ward dipped  in  a  solution  of  sulphate  of  iron, 
it  will  become  purple,  yellow,  black  and  white. 
Dip  a  piece  of  white  calico  in  a  cold  solution 
of  sulphate  of  iron  and  let  it  dry.     Then  im* 
print  any  figures  upon  it  with  a  strong  solution 
of  colourless  citric  acid,  and  let  this  dry  also* 
If  the  piece  be  then  well  washed  in  waim  wa- 
ter, and  afterwards  boiled  in  a  decoction  of  log- 
wood, the  ground  will  be  dyed  either  a  slate  or 
a  black  colour,  according  to  the  strength  of  the 
metallic  solution,  while  the  printed  figures  will 
remain  beautifully  w  hite.    Stain  some  parts  of  a 
I  2 


98  CURIOUS    ARTS. 

sheet  of  paper  a  purple  brown,  with  a  mixture 
of  infusion  of  galls  and  sulphate  of  iron;  stain 
other  parts  green  with  a  mixture  of  tinctures  of 
turmeric  and  litmus;  stain  other  parts  purple 
with    juice  of  red  cabbage;  other  parts  red 
with  tincture  of  litmus  and  muriatic  acid  ;  oth- 
er parts   yellow    with   tincture  of   turmeric : 
wash  the  remainder  of  the  sheet  with  a  solu- 
tion of  sulphate  of  iron,  which  will  remain 
white.      Then  print,  or  draw  with  a  camel- 
hair  pencil,  any  figure  or  figures  on  every  part 
of  the  paper,  with  a  solution  of  sub-carbonate 
of  potass.      On  the  purple  brown,  the  figure 
will  be  black ;  on  the  green  it  will  be  purple ; 
on  the  purple  it  will  be  green ;  on  the  red  it  will 
be  blue;  on  the  yellow,  red  ;  and  on  the  white, 
it  will  take  a  yellow  colour.     Thus  the  figure 
will  appear  in  colors  different  from  the  ground 
in  every  part.    Immerse  a  piece  of  white  cotton 
in  a  solution  of  sulphate  of  iron — it  will  re- 
main white;  dip   another  piece  in  tincture  of 
turmeric,  it  will  take  a  yellow ;    wet  another 
piece  with  juice  of  red  cabbage,  containing 
also,  a  few  drops  of  muriatic  acid, — it  will  be 
red;  dye  another  piece  green,  by  immersing 
it  in  a  mixture  of  tincture  of  turmeric  and  lit- 
mus :  and  another,  purple  by  a  mixture  of  in- 


CURIOUS    ARTS.  99 

lusion  of  galis  and  sulphate  of  iron.  Let  them 
dry;  then  immerse  them  all  together  in  a  so- 
lution of  sub-carbonate  of  potass.  The  white 
will  be  changed  to  a  yellow  ;  the  yellow  to  a 
red ;  the  red  to  green ;  the  green  to  purple ; 
and  the  purple  to  black;  and  it  is  not  improb- 
able that  some  black  might  be  materially 
changed  or  bleached  by  the  same  simple  solu- 
tion. 

99.        To     PREPARE     AN     IMITATION     OF     GOLD 

BRONZE. — Melt  two  ounces  of  tin,  and  mix  with 
it  one  ounce  of  mercury;  when  this  is  cold 
pulverize  it  and  add  one  ounce  of  muriate  of 
ammonia,  and  one  ounce  of  sulphur,  and  grind 
them  all  together.  Put  the  compound  in  a 
flask  and  heat  it  in  a  clear  fire  (carefully  avoid- 
ing the  fumes)  till  the  mercury  sublimes,  and 
rises  in  vapour.  When  the  vapour  ceases  to 
rise,  take  the  glass  from  the  fire.  A  flaky  gold 
colored  powder  will  remain  in  the  flask,  which 
may  be  applied  to  ornamental  work  in  the 
manner  of  gold  bronze,  of  which  it  is  a  toler- 
able imitation. 

100.       To    PROCURE  THE   EXHILARATING    GAS. 

Put  a  quantity  of  nitrate  of  ammonia  into  a 


100  CURIOUS    ARTS. 

/ 

flask,  and  apply  the  heat  of  a  lamp,  which 
must  be  gentle,  and  well  regulated.     The  salt 
will  in  a  short  time  liquify,  and  must  then  bcS 
kept  quietly  simmering,  avoiding  violent  ebulli- 
tion.  The  gas  will  be  evolved,  and  rise  through 
the  neck  of  the  flask,  and  may  be  collected  in  a 
bladder  containing  a  small  quantity  of  water, 
and  should  be  allowed  to  stand  a  few  hours, 
and  shifted  into  another  bladder,  or  silk  var- 
nished bag  before  it  is  used.    Though  this  gas  is 
not  fitted  to  support  life,  yet  it  may  be  respired 
for  a  short  time,  and  the  eff'ects  produced  by  it 
upon  the  animal  frame,  are  its  most  extraordi- 
nary properties.      The  effects  of  this  gas,  are 
in  general,  highly  pleasurable,  and  resemble 
those  attendant  on  the  agreeable  period  of  in- 
toxication.     Exquisite  sensations  of  pleasure} 
an  irresistable  propensity  to  laughter  ;  a  rapid 
flow    of   vivid  ideas;    a  strong  incitement  to 
muscular  Motion,  are  the  ordin^-y  feelings  pro- 
duced by  it.      And  what  is  exceedingly  re- 
markable, is,  that  the  intoxication  thus  produ- 
ced, instead  of  being  succeeded  by  the  debil- 
ity subsequent  to  intoxication  by  ardent  spir- 
its, does,  on  the  contrary,  generally  render  the 
person  who  takes  it,  cheerful  and  high  spirited 
for  the  remainder  of  the  day. 


;         curious  arts.  101 

101.      Construction  of  a  galvanic  pile  or 
BATTERY. — Procure  fifty  or  more  thin  plates  of 
copper,  and  the  same  number  of  plates  of  zinc, 
all  of  which  may  be  about  the  size  of  a  dollar, 
"but  not  so  thick.     The  copper  and  zinc  plates, 
may  be  either  cast  in  moulds,  or  may  be  cut 
out  of  rolled  plates  of  the  metals.     In  addi- 
tion to  the  plates  of  copper  and  zinc,  it  is  ne- 
cessary to  be  provided  with  an  equal  number 
of  pieces  of  woollen  cloth,  rather  smaller  than 
the  metallick  plates  in  size.     Let  these  be  soak- 
ed in  a  solution  of  muriate  of  soda,  till  they 
have  thoroughly  imbibed  it ;  then   take  them 
out  of  the  solution,  and  squeeze  them  gently, 
to  force  out, the  superabundant  water.     Then, 
having  pro<^ided    a   circular   piece   of  wood, 
rather  larger  than  the  plates,  cover  it  with  tin 
foil,  and  on  this  lay  a  plate  of  zinc,  upon  that 
a  plate  of  copper,  and  then  apiece  of  moisten- 
ed cloth  ;  next  a  plate  of  zinc,  »Sz;c.     Continue 
this  arrangement  of  zinc,  copper  and  cloth,  till 
all  the  pieces  that  have  been  provided  are  laid 
on.     As  the  pile  began  with  zinc,  it  must  be 
concluded   with  copper.      This  pile    may  be 
braced  occasionally  with  strips  of  glass  to  pre- 
vent its  being  overthrown.      Fix  the  end  of  a 
piece  of  metallic   wire,   in  contact  with  the 


102  CURIOUS   ART3. 

base,  and  lay  the  end  of  another  piece  upon 
the  top  of  the  pile;  if  thus,  the  opposite  ends 
of  the  wire  be  brought  in  contact  with  each 
other,  or  if  they  are  connected  by  any  con- 
ducting body,  so  as  to  form  a  circuit  of  con- 
ductors, the  pile  will  afiord  a  constant  and  pow- 
erful current  of  the    galvanic  fluid    through 
them  for  many  hours.     If  the  hands  be  moist- 
ened, and  one  of  them  applied  to  each  of  the 
wires,  a  shock  will  be  received.      Gold  and 
other  metals  have  been  melted,  and  even  burnt ; 
and  potass,  soda  and  lime  have  been  reduced 
to  their  respective  metallic  states,  by   being 
made  to  form  part  of  a  galvanic  circuit.  "When 
the  pile  is  not  in  use,  it  should  be  taken  down, 
which  will  preserve  it  from  wear,  and  th€  plates 
will  require  to  be  cleansed  occasionally,  which 
may  be  easily  done  by  diluted  muriatic  acid. 

102.  Construction  of  the  oxv-hydrogen 
BLOW-PIPE.— This  useful  instrument  consists  of 
a  cubical  vessel,  made  of  tin  plate,  being  from 
ten  to  twenty  .inches  in  length,  breadth  and 
heighth.  The.in4de  is  divided  into  four  equal, 
apartments,  by  two  partitions,  crossing  each 
other  in  the  centre.  The  two  front  apartments 
are  covered  at  the  top,  and  each  of  them  have 


CURIOUS    ARTS.  1 


^ 


a  lube  fixed  in  the  front  side,  near  the  top,  with 
a  stopcock.  The  other  apartments  are  open 
at  the  top,  and  communicate  with  those  in  front, 
by  a  small  aperture  near  the  bottom  of  each. 
These  apartments  being  all  filled  with  water, 
those  in  front  are  tilled,  the  one  with  oxygen, 
and  the  other  with  hydrogen  gas,  which  is  done 
^y  forcing  the  gases  into  them  through  the 
tubes  in  front,  which  causes  the  water  to  re- 
cede through  the  aperture  at  the  bottom,  and 
consequently,  part  of  the  water  is  forced  over 
the  top  of  the  other  apartments  ;  or  rather, 
may  run  off  through  small  tubes,  fixed  for  the 
purpose,  near  the  top,  similar  to  those  in  front. 
When  tWe  front  apartments  are  filled  Avith  the 
gases,  (which  may  be  known  by  the  bubbling 
in  the  others)  the  tubes  are  stopped,  and  two 
leaden  pipes  are  fixed  in  them,  the  opposite 
ends  of  which,  are  so  placed,  that  the  two 
streams  of  gas,  when  expelled  from  the  gas 
holders,  may  come  in  contact  very  near  the 
ends  of  the  pipes.  When  the  tubes  are  open, 
the  pressure  of  the  water  will  expel  the  gases, 
and  will  consequently  setde,  and  must  be  re- 
plenished, so  as  to  keep  the  apartments  nearly 
full.  When  the  two  streams  of  gas  are  igni- 
ted at  the  point  of  contact,  a  flame  is  produced 


104  CURIOUS    ARTS. 

of  sufficient  intensity  to  burn'gold,  silver,  cop- 
per or  tin,  with  a  very  brilliant  combustion. 

103.      To  MAKE  A  DRY    PHOSPHORESCENT   POW- 
DER.— Take   some   thick   oyster  shells,  wash 
them,  and  calcine  by  keeping  them  red  hot  in 
an  open  fire  for  half  an  hour :  then,  select  the 
clearest  and  whitest  parts,  and  reduce  them  to 
powder.     Mix  three  parts  of  this  powder,  with 
one  of  the  flour  of  sulphur;  fill  a  crucible  with 
this  compound,  pressing  or  beating  it  down  as 
hard  and  solid  as   may  be,   without  breaking 
the  crucible.     Set  the  crucible  in  the  fire,  and 
heat   it  moderately  at  first,  but   increase  the 
heat  gradually  for  an  hour,  in  which   time   it 
must  approach  nearly  to  a  white  heat.     Then 
let  it  cool,  and  again  select  from  the  mass,  the 
whitest  and  purest  parts,  which  must  be  pre- 
served in  a  phial  with  a  glass  stopper.     This 
powder  has  the  peculiar  property  of  imbibing 
the  rays  of  the  sun  in  the  day  time,  and  emit- 
ting them   again  in  the  night ;  or  if  the   phial 
containing  it,  be  exposed  for  a  few  minutes  to 
the  direct  rays   of  the  sun  and   then  carried 
into  a  dark  room,  light  enough  will  be  evolved 
to  render  it  distinctly  visible. 


curious  arts.  105 

104.  Curious  experiment  of  precipitation. 
— Set  five  glasses  on  the  table,  and  nearly  fill 
one  of  them  with  a  solution  of  sulphate  of 
iron  ;  and  another  with  a  solution  of  sulphate 
of  copper  j  a  third  with  a  solution  of  nitrate 
of  bismuth ;  pour  into  the  fourth,  a  solution 
of  nitro  muriate  of  cobalt,  and  into  the  fifth  a 
solution  of  acetate  of  lead,  or  salphate  of  zinc. 
These  liquid  solutions  may  all  be  diluted  so  as 
to  be  colourless.  Then  pour  into  each  glass, 
a  few  drops  of  a  colourless  solution  of  prus- 
siate  of  potass.  The  contents  of  the  first  glass 
will  be  instantly  changed  to  a  full  blue  colour; 
those  of  the  second  to  a  reddish  brown  ;  those 
of  the  third,  to  a  yellow;  the  fourth  to  a 
green,  and  the  fifth  to  a  white.  Thus  five  dis- 
tinct colours  will  be  given,  by  the  addition  of 
one  colourless  solution. 

105.       To    MAKE    A  beautiful    SOFT    GLASS    FOR 

JEWELRY. — Take  six  ounces  of  clean  fine  white 
sand, three  ounces  of  red  lead,  three  ounces 
of  pure  sub-carbonate  of  potass,  one  ounce  of 
nitrate  of  potass,  half  an  ounce  of  borate  of 
soda,  and  two  drachms  of  arsenic;  mix  and 
pound  them  all  together.  Put  the  compound 
in  a  crucible,  and  set  it  in  a  common  fire,  often 

K 


106  CURIOUS    ART5. 

Stirring  it  with  an  iron  rod,  till  it  is  well  melted, 
and    becomes  transparent.      This    compound 
will  liquify  very  easily  without  any  great  heat, 
if  the  sand  is  fine,  (which  sometimes  requires 
to  be  ground  or  pounded  in  a  glass  or  flint  mor- 
tar,) and  if  it  be  kept  melted  awhile,  will  be- 
come beautifully  transparent,  and  may  be  cast 
or  blown  in  the  manner  of  other  glass.      This 
glass  may  be  changed  to  a  red  or  ruby  colour, 
by  adding  and  fusing  together  with  it,   a  small 
quantity  of  finely  powdered  precipitate  of  gold, 
(gold  prev-ipitated  from  solution   in  nitro-muri- 
atic  acid  by  the  addition  of  tin.)      It  may  be 
also  changed  to  blue  by  the  addition  of  zai^re, 
(an  ore  of  cobalt,)  and  magnesia:  a  green  col- 
our may  be  given  by  a  precipitate  of  copper; 
and  yellow  by  calcined  iron,  and  white  by  cal- 
cined bones.     This  subject  is  treated  of  large- 
ly in  the  Handmaid  of  the  Arts,  to   which,  for 
further  information  on  the  subject,  the  reader 
is  referred. 

106.  Composition  of  various  kinds  of 
GLASS.— The  best  flint  glass  is  composed  of  129 
lbs.  of  white  saud,  50  lbs.  of  red  lead,  40  lbs. 
of  sub  carbonate  of  potass,  20  lbs.  of  nitrate  of 
potass,  and  3  oz.  of  magnesia.     The  best  crown 


CURIOUS    ARTS. 


107 


glass  is  composed  of  60  lbs.  of  white  sand,  30 
lbs.  of  sub-carbonate  of  potass,  15  ll?s  of  ni- 
trate of  potass,  1  lb.  of  borate  of  soda  and 
^  lb.  of  arsenic.  The  composition  of  common 
green  window  glass,  is  120  lbs.  of  white  sand, 
30  lbs.  of  sufi-carbonate  of  potass,  CO  lbs.  of 
wood  ashes,  20  lbs.  of  muriate  of  soda  and  5 
lbs.  of  arsenic.  The  composition  for  looking 
glass  plates,  is  60  lbs.  of  clean  white  sand,  25 
lbs.  of  purified  sub-carbon Tte  of  potass,  Id  lbs. 
of  nitrate  of  potass,  and  7  lbs.  of  borate  of  so- 
da. Common  green  bottle  glass  is  made  from 
200  lbs.  of  wood  ashes,  and  100  lbs.  of  sand. 
The  materials  for  making  glass,  is  first  reduced 
to  powder ;  then  mixed  and  exposed  to  a  strong 
heat,  in  suitable  pots  and  furnaces,  till  the 
whole  mass  liquifies  and  becomes  thoroughly 
commixed  and  transparent. 

107.  Composition  of  various  alloys.-— 
Brass  is  composed  of  two  parts  of  copper  to 
one  of  zinc;  or  copper  and  calamine,  (an  ore 
of  zinc,)  equal  quantities.  Pinchbeck  con- 
sists of  from  five  to  ten  parts  co})per,  and  one 
of  zinc.  Bell  metal  is  composed  of  three  parts 
copper  and  one  of  tin.  Gun  mt  tal,  nine  parts 
copper  and  one  of  tin.     Tombac,  sixteen  parts 


108  CURIOUS    ARTS. 

copper,  one  part  zinc  and  one  of  tin.  The 
composition  of  pewter  is  seven  pounds  of  tin, 
one  of  lead,  four  ounces  of  copper  and  two  of 
zinc.  That  of  type-metal  is  nine  parts  lead, 
two  parts  antimony  and  one  of  bismuth.  Sol- 
der, two  parts  of  lead  with  one  of  tin.  Queen's 
metal,  nine  parts  dmin,  one  of  bismuth,  one  of 
antimony  and  one  of  lead.  Jewel  gold  is  com- 
posed of  twenty-five  parts  gold,  four  parts  sil- 
ver, and  seven  parts  fine  copper.  In  forming 
metallic  compounds  or  alloj^s,  it  is  proper  to 
melt  such  of  the  ingredients  as  are  the  least 
fusible  first,  and  afterwards  add  the  others, 
stirring  them  briskly  till  they  are  thoroughly 
commixed. 

108.       To  PRODUCE  VARIOUS  KINDS  OF  GAS. To 

three  or  four  ounces  of  pulverized  chalk  or 
marble,  moistened  in  a  flask,  with  an  equal 
quantity  of  water,  add  one  ounce  of  sulphuric 
acid; — carbonic  acid  gas  will  be  evolved  in 
abundance,  and  will  rise  through^ahe  neck  of 
the  flask,  and  may  be  conducted  by  pipes,  to 
any  j^rro^r  receiver.  Instead  of  the  marble  or 
chalk, substitute  granulated  zinc; — in  this  case 
hydrogen  gas  will  be  evolved ;  but  this  may 
require  a   larger  proportion  of  water.     Pour 


CURIOUS   ARTS,  109 

sulphuric  acid  upon  a  similar  quantitj^  of  dry 
muriate  of  soda;— muriatic  acid  gas  will   be 
rapidly  evolved.     Proceed  in  the  same  man- 
ner with  a  similar  quantity  of   black  oxide  of 
manganese,— apply  theiieatof  a  lamp,  and  ox- 
ygen gas  will  be  produced*     Put  into  the  flask, 
two  or  three  ounces  of  lean  beef,  cutinto  small 
pieces  ;  pour  over  them  one  ounce  of   nitric 
acid  diluted  with  three  ounces  of  water;  apply 
the  heat  of  a  lamp,  and  nitrogen  gas  will  be  lib- 
crated.     Powder  separately,  equal  quantities 
of  muriate  of  ammonia  and  newly  burnt  lime  ; 
put  them  together  into  a  flask  and  apply  gentle 
heat;  ammoniacal  gas  will  be  evolved.     Pour 
an  ounce  of  nitric  acid,  diluted  with  five  times 
its  weight  of  water,  upon  one  ounce  of  shreds  or 
turnings  of  copper;  nitrous  gas  will  be  rapidly 
evolved.     Grind  three  parts  of  muriate  of  soda 
with  two  parts  of  black  oxide  of  manganese ;  in- 
troduce this  mixture  into  the  flask,  and  add  two 
parts  of  sulphuric  acid,  diluted  with  an  equal 
quantity  of  water ;    apply  a   gentle  heat  and 

chlorine  gas  will  be  evolved.     Mte When 

either  of  the  last  mentioned  gases  are  produced, 
great  caution  is  requisite  that  they  do  not  es- 
cape into  the  room,  in  any  considerable  quan-  ** 

K  2 


110  CURIOUS    ARTS. 

tity,  as  their  action  on  the  lungs  is  exceeding- 
ly injurious. 

109.  Various  chemical  tests. — When  wa- 
ter is  suspected  to  hold  any  foreign  substance 
in  solution,  various  nieans  may  be  used  to  de- 
tect and  ascertain  the  quality  of  the  sub- 
stances combined  ;  thus,  acids  may  be  detect- 
ed by  immersing  in  the  water,  a  slip  of  litmus 
colored  paper,  which,  if  acid  be  present,  will 
be  changed  to  red.  In  the  same  manner,  al- 
kalies may  be  detected  by  a  strip  of  turmeric 
yellow  paper,  which  will  be  also  changed  to 
red  by  alkalies.  These  tests  are  sensible  to 
the  presence  of  an  acid  or  alkali  in  the  pro- 
portion of  one  to  ten  thousand.  Iron  may  be 
detected  by  a  drop  of  infusion  of  galls,  which 
will  give  to  the  water  (if  iron  be  present)  a 
brown  tinge.  A  drop  of  sulphuric  acid,  pre- 
cipitates barites  in  the  form  of  a  white  powder. 
Clear  transparent  lime-water  (water  in  which 
lime  has  been  slaked  and  then  suffered  to  set- 
tle) will  indicate  the  presence  of  carbonic  acid 
by  a  milky  whiteness.  On  the  same  principle, 
1  a  solution  of  super-carbonate  of  potass  will  de- 
tect lime.  A  few  drops  of  nitrate  of  silver 
will  instantly   discover   muriatic  acid,  by   a 


CURIOUS    ARTS.  Ill 

white  flaky  precipitate.  Muriatic  acid,  conse- 
quently, i*  a  good  test  for  silver.  Acetate  of 
lead,  in  solution,  is  a  lest  tor  sulphurcted  hy- 
drogen, which  occasions  a  precipitate  of  a 
black  colour.  Nitrate  of  mercury  is  an  excel- 
lent test  for  ammonia,  one  part  ol  which,  with 
30,000  parts  of  water  is  indicated  by  a  black- 
ish yellow  tinge  on  adding  the  test.  Liquid 
ammonia  is  a  very  sensible  test  for  copper, 
with  which  it  strikes  a  fine  blue   colour.     Ni- 

*v., 

rtro  muriate  of  gold  will  discover  the  presence 
of  tin,  by  a  beautiful  purple  precipitate.  Ni- 
tro  muriate  of  tin  is,  on  the  same  principle,  an 
excellent  test  for  gold. 

110.      To  PRODUCE  A  PICTURE  INSTANTLY,    IN  A 

VARIETY  OF  COLOURS. — Pa>nt  any  picture  on  pa- 
per in  the  usual  way,  only  instead  of  colours, 
use  the  following  substitutes :  for  green,  use  a 
solution  of  nitro-muriate  of  cobalt,  for  blue, 
a  solution  of  sulphate  of  iron — for  yellow,  a 
solution  of  nitrate  of  bismuth — and  for  a 
brown,  a  solution  of  sulphate  of  copper.  Any 
of  these  solutions  may  be  more  or  less  dilut- 
ed, as  the  respective  parts  of  the  picture  are 
to  be  light  or  dark,  but  none  of  them  must  b^ 
strong  enough  to  colour  the  paper.     This  pifl 


112  CURIOUS  ARTS. 

tHre  is  invisible  :  but  when  it  is  required  to  ap- 
pear, the  paper  inaj  be  tacked  up  on  the  wall, 
and  having  a  glass  of  the  transparent  solution 
of  prussiate  of  potass  (which  by  sight  cannot 
be  distinguished  from  clear  water)  dashed  sud- 
denly upon  it,  the  picture  will  instantly  ap- 
pear in  its  fulj  colours.  A  similar  effect  may 
be  produced,  by  drawing  the  picture  with  in- 
fusion of  galls,  and  sub-carbonate  of  potass ; 
this  is  revived  by  a  solution  of  sulphate  of 
iron,  and  appears  in  a  yellow  and  a  brown 
colour. 

111.       A  CHEAP    IMITATION    OF    SILVER    BRONZE. 

Put  into  a  crucible,  an  ounce  of  pure  tin,  and 
set  it  on  a  fire  to  melt ;  when  it  begins  to  melt, 
add  to  it  an  equal  quantity  of  bismuth,  and  stir 
the  mixture  with  an  iron  rod  till  the  whole  is 
entirely  melted  and  incorporated.  Take  the 
crucible  then  from  the  fire,  and  after  the  melt- 
ed composition  has  become  a  little  cooler,  but 
while  it  is  yet  irt  a  fluid  state,  pour  into  it  grad- 
ually, an  ounce  of  mercury,  stirring  it  at  the 
same  time,  that  the  mercury  may  be  thorough- 
ly conjoined  with  the  other  ingredients.  When 
the  whole  is  thus  commixed,  pour  the  mass  out 
3f  the  crucible  on  a  stone,  where,  as  it  cools, 


CURIOUS    ARTS.  113 

it  will  take  the  form  of  an  amalgam,  or  metal- 
lic paste;  which  will  be  easily  bruised  into  a 
flaky  powder,  and  may  then  be  applied  to  si- 
zed figures  in  the  manner  of  gold  or  silver 
bronze,  or  may  be  tempered  with  gum  water, 
and  applied  to  the  work  with  a  brush  or  ca a; til- 
hair  pencil ;  and  if  properly  secured  with  var- 
nish or  laquers  will  be  even  more  durable  than 
either  silver  leaf  or  silver  bronze. 

1  1  2.   -  To  MAKE  CRAYONS  OF  VARIOUS  COLOURS. 

— Crayons  or  pastils  consist  of  various  colour- 
ed pigments  or  paints,  formed  into  sticks  or 
rolls  for  the  purpose  of  drawing  and  shading 
with  them  in  the  manner  of  lead  pencils.  But 
that  thej  may  be  of  uniform  texture  or  hard- 
ness, different  ingredients  and  materials  require 
some  variation  in  the  management.  To  make 
white  crayons,  nothing  more  is  requisite  than 
to  mix  superfine  or  refined  whiting  with  alco- 
hol, to  the  consistence  of  soft  putty  ;  form  it 
into  rolls  of  a  convenient  length  and  size  and 
let  them  dry  :  or  the  whiting  may  be  mixed 
with  water  and  a  sufficient  quantify  of  burnt  or 
calcined  sulphate  of  lime  to  give  the  crayons 
a  sufficient  degree  of  hardness  when  dry.  A 
great  variety  of  elegant  light  colours  may  be 


114  G-URIOUS    ARTS. 

formed  by  adding  to  the  whiting  preptired  as 
above,  small  quantities  of  any  of  the  coloured 
pigments.     The  most  proper  colors  for  cray- 
ons are  lamp-black,  prussian  blue,  bm-nt  um- 
ber, burnt  te^-ra-de-sienna,  red  ochre,  vermil- 
ion, lake,  rose-pink,  chrome  yellow,   yellow 
ochre  and  mineral  green.     Many  other  hand- 
some  greens  are  formed    by  mixing  chrome 
yellow  with  prussian  blue,  varying  the  propor- 
tions ;  and  purples  are  produced  by  mixing 
rose  pink  efe  lake  with  blue.      Prussian  blu^ 
and  lake  being  each  naturally  of  a  binding 
natvare,   require  only  to  be   ground  in  water ; 
but  red  ochre  and  vermilion  should  be  ground 
in  alcohol,  or  may  have  some  quantity  of  the 
sulphate  of  lime  mixcU  with  them.       Any  of 
these  colours  may  be  mixed  in  any  proportion 
with  whiting  or  with  each  other,  each  compound 
having  a  sufficient  proportion  of  the  sulphate 
of  lime,  to  give  it  a  proper  degree  of  hardness 
and  strength  when  dry.      The  proper  length 
for  crayons  is  from  two  to  three  inches,  and 
the  size  about  the  same  as  that  of  a  tobacco- 
pipe  stem.     It  is  customary  in  making  crayons, 
to  have  at  hand  a  large  piece  of  chalk  with  a 
plane  surface,  on  which  to  lay  the  crayons  as 
soon  as  they  are  roiled ;  the  chalk  absorbs  a 


CURIOUS    ARTS.  J  15 

part  of  the  moisture,  which  makes  them  dry 
the  sooner  and  without  cracking. 

1  1  3.    To  MAKE  HARD  SEALINGt  WAX,  OF  VARIOUS 

COLOURS. — Take  of  gum  shellac  and  rosin  each 
two  ounces;  and  of  gum  mastic  one  ounce  j 
reduce  them  to  powder  and  mix  and  melt  them 
together  over  a  gentle  fire.  Then  if  a  red 
colour  is  required,  add  to  the  mixture  one 
ounce  of  fine  vermilion  ;  for  a  black  colour, 
add  half  an  ounce  of  a  m.ixture  of  lamp  black 
with  rum ;  for  a  blue,  half  an  ounce  of  white 
lead  with  one  fourth  of  an  ounce  of  prussiaa 
blue;  which  should  be  previously  ground  to™ 
gether  dry.  To  give  a  green  colour,  add  finely 
ground  verdegris ;  a  yellow  is  produced  by 
chrome  yellow  or  gamboge;  and  while,  by 
adding  pure  white  lead  to  the  mixture.  Whea 
the  desired  colour  is  formed  by  the  mixture 
and  incorporation  of  any  of  the  above  men- 
tioned colouring  ingredients,  take  out  a  part  of 
the  mixture,  sufficient  to  form  a  slick  or  roll 
of  the  usual  size,  and  roll  it  between  two 
smooth  metallic  plates,  which  should  also  be 
previously  warmed  to  prevent  the  wax  from 
becoming  too  hai'd.  When  the  stick  is  reduc- 
ed to  a  proper  size,  flatten  it  a  little  and  let  it 


116  CURIOUS   ARTS. 

• 

cool.  Proceed  in  the  same  manner  with  the 
rest  of  the  composition  ;  afterward  hold  each 
stick  severally  over  a  fire  of  charcoal,  turning 
Ait  quickly  till  the  surface  of  the  wax  is  com- 
pletely melted,  by  which  means  the  sticks  will 
have  acquired  a  very  smooth  and  shining  pol- 
ish at  the  surface,  which  they  will  retain  when 
cold  again.  If  a  softer  wax  is  required,  a 
small  quantity  of  bees-wax  and  of  linseed  oil 
may  be  added  to  the  above  composition,  or 
may  be  substituted  in  the  place  of  the  gum- 
mastic, 

1  1  4.        l^HE    ART    OF    MANUFACTURING    PAPER 

HANGINGS. — This  biisiness,  which  has  been  usu- 
ally, though  improperly  termed  paper  staining, 
consists  principally  in  stamping  or  painting  va- 
rious figures  in  water  colours  on  paper.  The 
paper  for  this  purpose  is  formed  inio  long  strips 
or  rolls,  by  pasting  the  edges  of  several  sheets 
together.  The  edges  of  the  sheets  should  not 
lap  on  each  other  more  than  half  an  inch,  and 
the  usual  length  of  a  roll  is  about  nine  yards. 
These  rolls  are  first  painted  plain  with  a  large 
brush  ;  the  paint  is  composed  of  refined  whi- 
ting with  some  colouring  ingredient,  being 
ground  in  water  and  tempered  with  a  sufficient 


CURIOUS   ARTS.  117 

quantity  of  glue  to  prevent  it  from  rubbing  off; 
when  a  new  design  or  figure  is  to  be  introduced, 
several  colours  are  prepared,  i.  e.  as  many  as 
are  required  in  such  design,  and  with  these  the 
design  is  painted  on  a  sheet  of  paper.  The 
paper  is  then  laid  on  a  smooth  birch  or  maple 
board,  and  such  parts  of  the  paper  as  contain 
the  colour  that  was  last  applied  in  the  drawing 
(which  is  usually  the  white)  are  coff.pletely 
cut  out,  with  a  sharp  pen-knife,  and  the  parts 
thus  cut  out,  are  pasted  down  upon  the  board, 
immediately,  in  the  places  and  positions  they 
occupied  in  the  design.  The  sheet  is  then  re- 
moved to  another  board,  and  another  col- 
our is  cut  out  in  the  same  manner;  thus 
the  several  colours  are  distributed  in  their 
proper  arrangements  on  as  many  different 
boards.  Each  board  is  then  cut  away  Avith 
chissels  and  gouges,  to  the  depth  of  a  fourth, 
or  an  eighth  of  an  inch,  in  every  part  except 
where  the  pieces  of  paper  are  fixed.  These 
boards  or  prints  are  supported  by  other  thin 
pieces,  which  are  fixed  firmly  on  the  backs  of 
them  by  screws,  in  such  manner  that  the  grain 
of  one,  crosses  that  of  the  other,  and  thus  pre- 
vents their  warping.  They  have  also  cleats 
orpins  attached  to  theoi  which  serve  as  han- 

L 


118  CURIOUS   ARTS. 

dies.  A  trough  is  provided,  a  litde  larger  than 
the  prints,  of  one  inch  in  depth,  and  having  a 
smooth  bottom,  on  which  is  laid  three  or  four 
pieces  of  fine  flannel  or  cassimere,  each  of 
which  is  at  least  as  laige  as  the  prints.  Then 
somo  of  the  colour  with  which  the  first  part  of 
the  design  was  painted,  is  spread  upon  the 
cloth  with  a  brush  ;  and  upon  this,  the  print 
containing  the  corresponding  parts  of  the  fig- 
ure, is  pressed,  (the  pieces  of  paper  having 
been  previously  scraped  oft';)  ihc  print  being 
thus  chiirged  with  the  colour,  is  placed  upon 
one  end  of  a  roll  of  the  prepared  paper,  which 
is  laid  on  a  table  for  th^t  purpose,  and  is  press- 
ed down  hard  by  a  lever  or  screw.  It  is  then 
returned  to  the  trough,  and  again  charged  with 
the  colour,  and  again  impressed  on  i he  pap^r 
at  a  proper  distance  above  the  oiher  impres- 
sion. In  this  manner  several  rolls  are  print- 
ed with  one  colour.  Then  the  next  colour  in 
the  design  is  applied  to  the  paper  in  the  same 
manner  by  another  print; — a  third  colour  by 
.a  third  print^and  so  on  till  the  paper  is  com- 
pletely printed  wiih  every  colour  in  the  design, 
each  in  its  proper  place.  These  prints  should 
be  washed  and  kept  dry  for  future  use.  A 
variety  of  figures  may  be  produced  with  the 
same  print,  by  varying  the  colours. 


CURIOUS    ARTS.  119 

115.       To    MAKE  ELASTIC  BLACKING  FOR    LEATH- 

j;r. —  Dilute  one  ounce  of  gum-asphaltum  with 
a  pint  of  spirits  of  turpentine,  in  the  manner 
described  at  51 ; — put  this  into  a  flask,  and  add 
one  ounce  of  gum-elastic  rut  into  very  small 
pieces,  and  halt  an  ounce  of  gum-shellac  pre- 
viously reduced  to  powder.  Suspend  the  flask 
unstopped  over  a  fire  of  charcoal,  or  set  it  in  a 
sand  l^ath  where  it  may  boil  gently  till  the 
quantity  is  reduced  to  a  gill ;  then  strain  it 
through  a  flannel,  and  when  nearly  cold,  bottle 
and  cork  it.  The  leather  should  lie  thoroughly 
bl  'ckeiied  with  some  liquid  blacking  and  wax- 
ed over  slightly  wiih  bees-wax  before  the  elas- 
tic blacking  is  applied.  If  the  blacking  should 
be  too  thick,  it  may  again  be  diluted  with 
spirits  of  turpentine.  Ii  should  be  warmed 
when  applied,  and  the  work  may  require  sev- 
eral coats,  and  a  considerable  time  for  each  to 
dry.  Any  of  the  above  mentioned  gums  may 
also  be  dissolved  in  sulphuric  ether,  and  thus 
produce  a  fine  drying  varnish,  but  the  prepar- 
ation is  much  more  difficult  as  the  volatile  na- 
ture of  the  ether  will  not  admit  oi  much  heat, 
whereby  to  facilitate  the  solution. 


120  CURIOUS    ART3. 

1 IG.  Sundry  Experiments. — Rub  together  a 
little  dry  powdered  alum,  and  acetate  of 
lead  ;  both  will  become  fluid.  To  a  saturated 
solution  of  muriate  of  lime,  add  a  saturated 
solution  of  sub  carbonate  of  potass,  (both 
transparent  liquids,)  the  mixture  will  be  nearly 
solid.  Rub  together  a  little  pure  white  calo- 
mel(subllmed  mercury)and  pure  white  ammonia 
(being  moistened  ;)  both  will  become  intensely 
black.  Fill  a  flask  nearly  half  full  of  water, 
and  apply  heat  till  it  boils;  take  it  from  the 
fire  and  (when  it  has  done  boiling)  cork  it; 
pour  cold  water  upon  the  flask,  and  the  water 
inside  will  re-commence  boiling.  EjK*  a  glass 
with  water,  and  lay  a  piece  of  paper  upon  the 
top  of  it ;  place  your  hand  upon  the  paper, 
and  invert  the  glass;  the  hand  may  be  re- 
moved and  the  glass  may  be  suspended  in  that 
position  by  a  thread,  and  the  water  will  not  be 
spilled.  Expose  a  piece  of  ice  to  the  action 
of  (cold)  muriatic  gas;  the  ice  will  be  instantly 
melted.  Drop  a  piece  of  phosphuret  of  lime, 
into  a  glass  of  water;  bubbles  will  soon  rise, 
and  on  reaching  the  surface  of  the  water  will 
spontaneously  explode.  Apply  the  end  of  a  roll 
of  brimstone  to  a  hot  bar  of  iron ;  a  part,^i 


CUI^IOUS    ARTS.  121 

the  iron  will  be  instantly  melted,  and  will  fall. 
Write  with  dihited  sulphuric  acid,  on  paperthat 
has  been  coloured  brown  by  a  mixture  of  sul- 
phate of  iron,  and  infusion  of  galls;  the  writ- 
ing will  be  while.  Moisten  the  under  lip,  and 
lay  upon  it  a  piece  of  silver  money,  (not  less 
than  a  twenty  cent  piece)  with  the  edge  of  it 
beneath  the  tongue;  lay  a  piece  of  zinc,  of 
nearly  an  equal  size,  upon  the  tongue,  and 
bring  the  edges  of  the  pieces  of  metal  into  con- 
tact; you  will  instantly  drop  the  money. 


X.  'l 


A  catalogue  of  the  various  articles  mentioned 
in  the  preceding  pages,  with  the  prices,  ex- 
planations, &c. 

HyThe   ariiclei  which  have  this  mark  *  prefixed  may  be  _ 
procured  at  135,  Washington-street,  Boston. 

Acetate    of  cobalt,   produced  by  di-  Cis,  " 

gesting:  the  oxide  of  cobalt  in  strong 
tinegar, 

*  Acetate  of    lead,  (sugar    of  lead) 
procured  by  dissolving  white    lead 

in  vinegar,  and  evaporating,  oz.       6 

*  Acetic    acid,  vinegar  concentrated 

dy  distillation,  pU     25    * 

*  Alcohol,  rectified  spirit  of  wine,  pt.     25    ^ 

*  Alum,  sulphate  of  alumine  and  pot- 
ass, oz.       3 

*  Ammonia,  (hartshorn)  a  volatile  al- 

.k;?li,  oz.     12 

*  Antimony,  a  dark  porous  metal,  oz.      6 


124  APPENBIX. 

*  BiES  WAX,  a  yellowish  resinous  sub-  Cts. 
stance    procured   from    honey,   or 

honey  combs,  oz.       6 

*  Bismuth,  (tin  glass)  a  reddish  white 

metal,  oz.     12 

*  BoRACic  ACin,  procured  by  adding 
sulphuric   acid  to  a   hot  solution  of 

borax;  the  acid  crystallizes,  oz.   100 

*  Brazil-wood,  (red-wood)  lb.       6 

*  Borate  of  soda,  or  sub-borate  of 
SODA,  (borax)  is  brought  from  the 
East-Indies  in  an  impure  state  call- 

'     ed  tincal,  02.      6 

Burnish  gold-size,  and  burnishers,  may 
be  had  of  Bittle  and  Cooper,  Pem- 

berton's-hiil,    Boston,   prices   vari- 
ous, 

*  Camphor,  obtained  from  a  species  of 

laurel  tree,  oz.     IS 

*  Carbonate  of  copper,  (French 
green)  produced  by  adding  a  solu- 
tion of  super  carbonate  of  soda,  to 
a  hot  solution  of  sulphate  of  cop- 
per, lb.     515 

■*  Carbonate  of  lead,  (white  lead) 
is  formed  by  e  tposing  thin  sheets 
of  lead  to   the  vapour  of  vinegar, 


APPENDIX.  12$ 

after  which  they  abstract  the  car-  Cts. 

bonic  acid  from  the  atmosphere,  Ih.     16 

*  Carbonate  of  strontia,  a  native 

mineral,  oz.     50 

Carbonate  of  lime,  (marble,  chalk)  a 
native  earth, 

*  Chlorate  of  potass,  procured  by 
passing   a  current  of  chlorine  gas 

through  a  solution  of  pearl-ash,  oz.     100 

*  Chrome  yellow,  a  pigment,  is  form- 
ed by  the  combination  of  a  metallic 
substance  with  the  chromic  acid,  oz.     12 

*  Cobalt,  (Zatfre)  a  metal  of  a  red- 
dish grey  colour;  when  exposed  to 
a  gentle  heat,  it  becomes  oxidized 
and  takes  the  form  of  a  black  pow- 
der, oz.     50 

*  Citric  acid,  procured  from  lemons, 

limes,  &c.  oz.     75 

*  Calomel,  white  sublimate  of  mer- 
cury, oz.     20 

*  Dragon's  blood,  a  red  mucilage  ex-  * 
tracted  from  a  plant,  oz.     10 

*  Fluate  of  lime,  (fluor  spar)  is  found 
in  abundance  in  Derbyshire,  Eng- 
land, its  acid  constituent  has  the  pe- 
culiar property  of  dissolving  glass,  lb.     50 


oz. 

12 

ez. 

16 

lb. 

25 

p-wt. 

75 

book 

45 

126  aJtendix. 

*  Frankfort    black,  which  takes  its  Cfs. 
name  from  Frankfort,  in   Germany, 

is  manufactured  from   the  leea  of 
wine, 

*  Gamboge,  a  yellow  opaque  gum,  or 
mucilage, 

*  Glue,  (gelatine)    a  jelly  procured 
from  skins  of  animals, 

*  Gold  bronze,  gold  in  fine  powder, 

*  Gold  leaf,  thin  laminas  of  gold, 

*  Gum   ARABIC,    a    mucilaginous    sub- 
stance thai  exudes  from  certain  trees 

in  Arabia,  oz.       6 

*  Gum  asphaltum,  a  bitumen,  or  min- 
eral pitch,  oz.       8 

*  Gum  copal,  a  hard  transparent  resin,         lb.     40 

*  Gum  elastic,  (indian  rubber,  caout- 
chouc) exudes   from   trees  in   the 

West- In  dies,  oz.       8 

*'  CrUM    SANDARAc,   a  Tcsin,  Similar   to 

rosin  but  much  harder,  lb.  100 

*  Gum  shellac,  a  compound,  resinous 
substance,  procured  from  the  nests, 

or  cells  of  an  insect,  oz.       6 

*  Gum  elastic,  a  hard,  transparent  res- 

*  in,  Ih.  100 


APPENDIX.  127 

*  IsiNG-GLASS,   a  kind   of   transparent  Cts^ 
glue  procured  from  various  kinds  of 

fish,  oz.     25 

*  Lake,  (drop  lake)  a  rose  coloured 
pigment,    prepared     from     brazil 

wood,  oz.  200 

*  Lead,  a  brown  heavy  metal,  lb.     12 

Lime,  an  oxide  of  calcium,  is  procured 
by  calcining  lime  stone,  marble  or 
chalk, 

*  Linseed     oil,    is    expressed     from 

ground  flaxseed,  pt.     15 

*  Litharge,  (gold  litharge)  an    oxide 

of  lead,  oz.       4 

*  Litmus,  a  blue  colouring  vegetable,         oz.     10 

*  Mercury,  (quick  silver)  a  metal 
that  remains  fluid  in  the  common 
temperature  of  the  atmosphere,  oz.       8 

*  Muriate  of  ammonia,  (sal  ammoni- 
ac) is  forme<l  by  adding  muriatic 
acid  to  liquid  ammonia,  evaporating, 

&C.,  _   ^'«i:>0^- 

Muriate  of  soda,  (culinary  salt)  is  pro- 
cured by  evaporating  the  water  of 
the  ocean, 

*  Muriate  of  strontia,  procured  by 
dissolving  native  carbonate  ofstron- 


128  APPENDIX. 

tia,  in  muriatic  acid,  and  evapora- 
ting, oz.     75 
Muriate  of  lime,  formed  by  evapora- 
ting a  solution  of  marble  in  muriat- 
ic acid, 

*  Muriatic  acid,  (marine   acid,  spirit 

of  salt)  is  extracted  from  sea-salt,  oz.     12 

*  Nitrate  of  ammonia,  procured  by 
dissolving  carbonate  of  ammonia 
(common  smelling   salts)  in   nitric 

acid,  '  oz.    20 

*  Nitrate  of  potass,  (nitre,  salt-petre) 
may  be  procured  by  adding  nitric 
acid  to  a  solution  of  sub-carbonate 
of  potass,  and  crystallizing  by  evap- 
oration, 02.       S 

*  Nitrate  ©f  strontia,  procured  the 

same  as  the  muriate,  oz.     76 

*  Nitric  acid,  (aquafortis)  is  obtained 
bj  distilling  two  parts  of  sulphuric 
acid,  together  with  one  part  of  salt- 
petre,       .^  oz.     12 

*  Nut  galls,  are  formed  on  the  leaves 

of  a  species  of  oak,  oz.      6 

*  Olive  oil,  (sweet  oil,)  oz.      3 

*  Oil  of  cinnamon,  extracted  from 
cionamon  by  distillation,  oz.     75 


APPENDIX.  129 

*  Oil  or  rosemary,  procured  also  by  Cts. 
distillation,                                                  oz.     25 

*  Orange  lead,  a  scarlet  pigment  sim- 
ilar to  red  lead,  oz.       3 

*  Oaide  of  manganese,  a  black  powder 
consisting  of  a  metal  combined  with 

oxygen,  02.     10 

*  Phosphorus,  a  simple  substance  pro- 
cured from  bones;  its  greatest  pe- 
culiarity is  extraordinary  combusti- 
bility, oz.  200 

*  Phosphuret  of  lime,  a   combination 

of  lime  and  phosphorus,  oz.  200 

*  Plumbago,  (black  lead)  a  carburet 

of  iron,  lb.     16 

*  Potassium,  the  metallic  base  of  pot- 
ass, may  be  readily  obtained  from 
pearl  ash  by  any  one  who  has  a  gal- 
vanic apparatus, 

*  Prussiate  of  iron,  (prussian  blue) 
may  be  formed  by  adding  prussiate 

of  potass,  to  a  solution  of  copperas,         oz.     25 

*  Prusslate  of  potass,  a  combination 

of  potass  and  prussic  acid,  oz.     50 

*  Pumice  stone,  i(,,     \  g 

*  Red  lead,  (minium)  is  obtained  by 
melting  lead  in  an  open  vessel,  and 

H 


lb. 

6 

pwt. 

50 

book 

30 

130  APPENDIX. 

exposing  it  in  that  state  to  the  ac-  Cts^ 

tion  of  the  atmospheric  air,  oz.       3 

*  Red  ochre,  (Spanish  brown)  a  native 

oxide  of  iron,  lb.      6 

*  Rosin,  the  resinous  part  of  turpen- 
tine, 

*  Silver  bronze, 

*  Silver  leaf, 

*  Slip  blue,  (wet  blue)  an  aqueous 
preparation  of  prussian  blue,  lb.     30 

*  Spirits  of  turpentine,  (oil  of  tur- 
pentine) is  procured  by  distilling 
common  or  crude  turpentine  ;  the 
residuum  is  rosin,  pt.     12 

*  Sub  acetate  of  copper,  (verdigris,)         oz.       3 

*  Sue  carbonate  of  potass,  (pearlash) 

potass  refined  by  calcination,  lb.     12 

*  Sulphate  of  copper,  (blue  vitriol, 

roman  vitrol,  oz.       3 

*  Sulphate  of  iron,  (copperas,  green 

vitriol,)  oz.       6 

Sulphate  of  lime,  (plaister  of  paris, 
alabaster,  gypsum.) 

*  Sulphate  of  zinc,  (white  vitriol,)  oz.       3 

*  Sulphur   (brimstone)   is   generally 

found  combined  with  ores  of  metals,         oz.       3 


APPENDIX.  131 

*  Sulphuric  acid,  (oil  of  vitrei)  the  Cis. 
condensed  vapour   of  burning  sul- 
phur,                                                           OS.     16 

*  Sulphuric  ether,  procured  by  dis- 
tilling alcohol  with  sulphuric  acid,         oz.     25 

*  Super  carbonate  of  potass  (sal  era- 
tus)  is  formed  by  passing  a  current 
of  carbonic  acid  gas,  through  a  solu- 
tion of  pearl  ash,  oz.       3 

*  Super  carbonate  of  soda,  may  be 
prepared  in  the  same  manner  from 

the  sub-carbonate,  oz.     12. 

*  Super  tartrate  of  potass  (cream  of 
tartar)    is    found    encrusted  on  the 
sides  of  casks  in    which    wine  has 

been  kept,  oz.       4 

*  Ta?.taric  acid,  procured  from  cream 

of  tartar,  oz,     12 

*  Terra-re-sienna,  an  oxide  of  iron 
that  becomes  dark  red  by  burning, 

*  Tin,  (grain,  or  gianuialed  tin,) 

*  Tin  foil,  metallic  tin  rolled  to  thin 
Jaminas  or  sheets  like  paper, 

*  Turmeric,  the  root  of  a  vegetable, 

*  Umber,  a  brown  earth  that  becomes 
nearly  black  by  burning, 

*  Venice  turpentine, 


oz. 

6 

oz. 

12 

oz. 

12 

oz. 

3 

oz. 

oz. 

6 

IS2 


APPENDIX. 


*  Vermilion,  asulphuret  o§  mercury,  Cts. 
is  sometimes  found  native,  but  may 

be  procured  by  grinding  sulphur  and 
mercury  together,  and  heating 
them,  first  in  an  open  vessel,  till  the 
mixture  takes  a  violet  colour  ;  and 
afterward  in  a  fiask  or  matrass,  oz.     12 

*  Whiting,  (Spanish  white)  refined,  lb.     12 

*  Yellow  ochre,  (spruce  yellow)    an 

oxide  of  iron,  Ih.     12 

*  Zinc  (spelter)  a  metal  of  which,  with 
copper,  brass  is  made,  ozv      Q 


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